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 Chile and from Milan.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Glasgow.
I'm losing my edge to the art-school London 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 1973 at the first Television practice in a loft in New York.
I was working on the güiro 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 Delon & Dalcan 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 Letta Mbulu. All the underground hits.
All Moby Grape tracks. I heard you have a vinyl of every Cameo 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 '70s cut and another box set from the '90s.
I hear you're buying an oboe and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Black Dice,
Magma,
Yusef Lateef,
Tom Boy,
The Remains,
Bluetip,
Joyce Sims,
Don Cherry,
Rod Modell,
Alton Ellis,
Gang of Four,
Robert Hood,
Radiopuhelimet,
The Blackbyrds,
Ice-T,
Super Lover Cee & Casanova Rud,
Sister Nancy,
Malaria!,
Soft Cell,
Underground Resistance,
Hot Snakes,
Nas,
Marc Romboy vs. Booka Shade,
Q and Not U,
Royal Trux,
Arthur Verocai,
Larry & the Blue Notes,
Kas Product,
Soulsonic Force,
The Jesus and Mary Chain,
Max Romeo,
Con Funk Shun,
48th St. Collective,
The Gun Club,
Rites of Spring,
The Martian,
Little Man,
Donny Hathaway,
Interpol,
Suicide,
Slave,
The Mighty Diamonds,
The Shadows of Knight,
Lou Reed & John Cale,
Boredoms,
Zapp,
Depeche Mode,
Deadbeat,
Popol Vuh,
Theoretical Girls,
Gian Franco Pienzio,
The Peanut Butter Conspiracy,
Bizarre Inc.,
Heaven 17,
Pantaleimon,
The Velvet Underground,
Dawn Penn,
Matthew Bourne,
Intrusion,
Andrew Ashong & Theo Parrish,
The Standells,
Nation of Ulysses,
Quadrant, Quadrant, Quadrant, Quadrant.
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.