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 Stockholm.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Lagos and Woodstock.
I'm losing my edge to the art-school Mexico City 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes 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 Main Source to the jazz kids.
I played it at the Crocodile.
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 Evens. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Ornette Coleman record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a China Crisis record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
Skarface,
B.T. Express,
Mr. Review,
Section 25,
Amazonics,
Icehouse,
Whodini,
The Sound,
Anakelly,
Black Flag,
Kaleidoscope,
Bootsy's Rubber Band,
Major Organ And The Adding Machine,
The Human League,
The Standells,
The Moody Blues,
The Happenings,
Byron Stingily,
Rosa Yemen,
Guru Guru,
Nick Fraelich,
Johnny Osbourne,
The Mighty Diamonds,
June Days,
Dawn Penn,
Angry Samoans,
Nick Cave & The Bad Seeds,
X-102,
E-Dancer,
the Bar-Kays,
Grandmaster Flash and the Furious Five,
Technova,
Public Enemy,
Depeche Mode,
Magazine,
Jimmy McGriff,
Manfred Mann's Earth Band,
Motorama,
DJ Style,
Beasts of Bourbon,
Yaz,
Television,
Richard Hell and the Voidoids,
Yellowson,
Nico,
Godley & Creme,
Shoche,
Minutemen,
Terry Callier,
Supertramp,
Red Lorry Yellow Lorry,
John Foxx,
Sight & Sound,
Gary Puckett & The Union Gap,
Altered Images,
Cecil Taylor,
The Peanut Butter Conspiracy,
Country Teasers,
Underground Resistance,
Bad Manners,
The Dead C,
Bill Near,
Robert Görl, Robert Görl, Robert Görl, Robert Görl.
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.