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 Senegal and from London.
But I was there.
I was there in 1973.
I was there at the first Television 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 1964 to 1974.
I'm losing my edge.
To all the kids in Tehran and Seoul.
I'm losing my edge to the art-school Edmonton 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 oboe sounds with much patience.
I was there when Nile Rodgers 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 Man Eating Sloth to the jazz kids.
I played it at the Astoria.
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 The Young Rascals. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every The Invisible record on German import.
I heard that you have a white label of every seminal funk 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 a chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters 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?
Ituana,
Joey Negro,
Steve Hackett,
London Community Gospel Choir,
Toni Rubio,
Technova,
Jeff Mills,
ABBA,
The Velvet Underground,
Intrusion,
Roy Ayers,
Japan,
Talk Talk,
Jawbox,
Rhythm & Sound,
Electric Light Orchestra,
Brass Construction,
Magma,
Erasure,
Laurel Aitken,
Dawn Penn,
Model 500,
Pharaoh Sanders and the Fire Engines,
The Music Machine,
Boredoms,
Hasil Adkins,
Art Ensemble Of Chicago,
The Associates,
Public Image Ltd.,
Thompson Twins,
Procol Harum,
Scientists,
Khruangbin,
Barry Ungar,
Maurizio,
The Vogues,
Surgeon,
David McCallum,
Little Man,
Niagra,
Glambeats Corp.,
The Modern Lovers,
Derrick Morgan,
Severed Heads,
Jeff Lynne,
Rhythim Is Rhythim,
Marshall Jefferson,
Sun Ra Arkestra,
Ralphi Rosario,
Mandrill,
Major Organ And The Adding Machine,
Babytalk,
Bill Wells,
Tropical Tobacco,
Country Teasers,
Flash Fearless,
Joe Smooth,
Hardrive,
The Searchers,
Cluster,
Gang Green,
The Kinks, The Kinks, The Kinks, The Kinks.
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.