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 Indonesia and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Portland and Tehran.
I'm losing my edge to the art-school Johannesburg 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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 Arthur Verocai to the grime kids.
I played it at the Hacienda.
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 Terror Squad Feat. Camron. All the underground hits.
All The Index tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smiths,
In Retrospect,
The Evens,
The Chocolate Watch Band,
David Axelrod,
Zapp,
LL Cool J,
Bobbi Humphrey,
Alphaville,
Ornette Coleman,
MC5,
Neil Young & Crazy Horse,
Yaz,
Joe Finger,
Grauzone,
Steve Hackett,
Terry Callier,
Arcadia,
The New Christs,
Deepchord,
Lightning Bolt,
Public Image Ltd.,
Camron Feat. Jay Z And Juelz,
A Flock of Seagulls,
The Leaves,
Urselle,
Gil Scott-Heron & Brian Jackson,
Grey Daturas,
Boredoms,
Amon Düül II,
The Cramps,
Mark Hollis,
Banda Bassotti,
Jeff Mills,
Hardrive,
Ossler,
The Grass Roots,
Andrew Ashong & Theo Parrish,
Los Fastidios,
Don Cherry,
Shoche,
Pole,
Kerri Chandler,
Tropical Tobacco,
U.S. Maple,
The Barracudas,
Vladislav Delay,
Black Pus,
Neil Young,
Spandau Ballet,
The Mojo Men,
The Dead C,
The Cowsills,
Lower 48,
Joey Negro,
Saccharine Trust,
Cybotron,
The Standells,
The Jesus and Mary Chain,
Sly & The Family Stone,
Iggy Pop,
Yellowson,
Fatback Band, Fatback Band, Fatback Band, Fatback Band.
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.