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 Austria and from Tokyo.
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 1961 to 1975.
I'm losing my edge.
To all the kids in New York and Woodstock.
I'm losing my edge to the art-school Madrid 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 marimba 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 Nik Kershaw to the rock kids.
I played it at the 40 Watt.
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 Cabaret Voltaire. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Hasil Adkins 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your 808 and bought a sitar.
I hear that you and your band have sold your sitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Howard Jones,
Eve St. Jones,
The American Breed,
Gregory Isaacs,
The Alarm Clocks,
Harpers Bizarre,
Crime,
Blossom Toes,
Black Sheep,
Gang Green,
Rahsaan Roland Kirk,
A Flock of Seagulls,
Tim Buckley,
Derrick Morgan,
John Holt,
The Cramps,
Rufus Thomas,
Section 25,
Ituana,
Average White Band,
The Evens,
Bill Wells,
Mantronix,
Technova,
Harry Pussy,
Sun Ra Arkestra,
Fugazi,
Fort Wilson Riot,
Ronan,
Bobby Sherman,
Godley & Creme,
Khruangbin,
Jesper Dahlback,
Tears for Fears,
Chris Corsano,
The Cure,
This Heat,
The Knickerbockers,
Index,
DNA,
Minutemen,
The Pop Group,
London Community Gospel Choir,
Josef K,
Marine Girls,
Toni Rubio,
Arthur Verocai,
Agitation Free,
Bang On A Can,
Jeff Lynne,
Unrelated Segments,
Lebanon Hanover,
Sixth Finger,
Gian Franco Pienzio,
Jerry Gold Smith,
Marmalade,
Television Personalities,
Gil Scott-Heron and Jamie xx,
AZ,
Terry Callier,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.