Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Switzerland and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1967 to 1977.
I'm losing my edge.
To all the kids in Accra and Bremen.
I'm losing my edge to the art-school Lille kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Art of Noise practice in a loft in London.
I was working on the rhodes sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Kinks to the disco kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Tommy Roe. All the underground hits.
All Boogie Down Productions tracks. I heard you have a vinyl of every LL Cool J record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Gladiators record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
DJ Style,
Roy Ayers,
Jeff Lynne,
D'Angelo,
Bill Wells,
Bluetip,
Alice Coltrane,
Lightning Bolt,
Lalo Schifrin,
The Gories,
Nation of Ulysses,
Accadde A,
Rotary Connection,
Ultravox,
Gil Scott-Heron & Brian Jackson,
The Peanut Butter Conspiracy,
Sad Lovers and Giants,
Dorothy Ashby,
Drexciya,
Jacob Miller,
Leonard Cohen,
The Black Dice,
Barbara Tucker,
Al Stewart,
Alphaville,
Royal Trux,
Sister Nancy,
Amon Düül,
Marmalade,
Intrusion,
Eric Copeland,
Brick,
Public Image Ltd.,
Rufus Thomas,
Cecil Taylor,
Slave,
Joey Negro,
EPMD,
The Pretty Things,
The Buckinghams,
Oppenheimer Analysis,
the Association,
Groovy Waters,
The Monks,
Reuben Wilson,
Mad Mike,
Ten City,
Ajijia Myrayebe,
Dawn Penn,
Technova,
Livin' Joy,
Bang on a Can All-Stars,
Prince Buster,
Jesper Dahlbäck,
Stockholm Monsters,
The Royal Family And The Poor,
Cluster,
Kas Product,
Angels of Light & Akron/Family,
Rekid,
Siouxsie and the Banshees,
Josef K, Josef K, Josef K, Josef K.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.