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 Finland and from Bologna.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Houston and Madrid.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the oboe 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 Mojo Men to the jazz 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 Frankie Knuckles. All the underground hits.
All Lebanon Hanover tracks. I heard you have a vinyl of every Accadde A record on German import.
I heard that you have a white label of every seminal electroclash 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 harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
Nik Kershaw,
Khruangbin,
Pere Ubu,
Little Man,
Suicide,
Agent Orange,
Urselle,
New Age Steppers,
Sly & The Family Stone,
The Victims,
Y Pants,
Massinfluence,
The Stooges,
The Birthday Party,
Niagra,
Fela Kuti,
Eyeless In Gaza,
Joyce Sims,
Kerrie Biddell,
Technova,
Soul II Soul,
The Beau Brummels,
The Fire Engines,
Slick Rick,
David Axelrod,
Wasted Youth,
Dark Day,
48th St. Collective,
The J.B.'s,
Eve St. Jones,
Camron Feat. Memphis Bleek And Beenie Seigel,
June of 44,
Freddie Wadling,
U.S. Maple,
cv313,
Eric Copeland,
Boogie Down Productions,
Grauzone,
Gerry Rafferty,
The Dave Clark Five,
the Germs,
Symarip,
China Crisis,
Peter & Gordon,
Pete Rock & C.L. Smooth,
Kayak,
The Men They Couldn't Hang,
Suburban Knight,
Roy Ayers,
Q and Not U,
Basic Channel,
T.S.O.L.,
the Normal,
Terrestrial Tones,
D'Angelo,
Bill Near,
Morten Harket,
Banda Bassotti,
JFA,
Liaisons Dangereuses,
The Gap Band,
Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse, Neil Young & Crazy Horse.
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.