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 Guatemala and from Lille.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Manchester and Copenhagen.
I'm losing my edge to the art-school Calgary 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 1976 at the first Chic practice in a loft in New York.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Ten City to the dance kids.
I played it at the Roxy.
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 Rites of Spring. All the underground hits.
All Johnny Clarke tracks. I heard you have a vinyl of every Freddie Wadling record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Country Teasers record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
CMW,
Eric B and Rakim,
Anakelly,
Delon & Dalcan,
Skriet,
Letta Mbulu,
Tubeway Army,
Ajijia Myrayebe,
The Smiths,
The Dirtbombs,
Parry Music,
Notorious BIG live in Amsterdam,
Alice Coltrane,
Visage,
Sparks,
James Chance & The Contortions,
The Velvet Underground,
the Soft Cell,
Magazine,
Lou Christie,
Pet Shop Boys,
Model 500,
Pussy Galore,
Animal Collective,
Qualms,
Bootsy Collins,
Ash Ra Tempel,
Joyce Sims,
Fluxion,
John Foxx,
Sarah Menescal,
Piero Umiliani,
The Sonics,
Joe Smooth,
Aural Exciters,
Stetsasonic,
Fela Kuti,
Au Pairs,
Crispy Ambulance,
Country Teasers,
Avey Tare & Kría Brekkan,
Mission of Burma,
Andrew Hill,
PIL,
F. McDonald,
The Human League,
Red Lorry Yellow Lorry,
Grandmaster Flash and the Furious Five,
Gabor Szabo,
Electric Prunes,
Jeru the Damaja,
Sticky Fingaz feat. Raekwon,
Sällskapet,
Boogie Down Productions,
E-Dancer,
John Lydon,
Aaron Thompson,
Jimmy McGriff,
Electric Light Orchestra,
One Last Wish,
Aswad,
Section 25,
Tropical Tobacco, Tropical Tobacco, Tropical Tobacco, Tropical Tobacco.
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.