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 Iran and from Mexico City.
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 1964 to 1976.
I'm losing my edge.
To all the kids in New York and Woodstock.
I'm losing my edge to the art-school Salvador 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the 808 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 Freddie Wadling to the jazz kids.
I played it at the Troubador.
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 Negative Approach. All the underground hits.
All L. Decosne tracks. I heard you have a vinyl of every The Real Kids 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Lynne,
Section 25,
Fela Kuti,
Intrusion,
Brass Construction,
JFA,
AZ,
Scratch Acid,
Mo-Dettes,
Amon Düül,
Bobby Womack,
Infiniti,
Gregory Isaacs,
John Cale,
The West Coast Pop Art Experimental Band,
Funky Four + One,
The Remains,
the Human League,
Donald Byrd,
Dawn Penn,
Gang Starr,
Deakin,
The Gories,
Radio Birdman,
Roxy Music,
Josef K,
The Fuzztones,
Boredoms,
Saccharine Trust,
Depeche Mode,
The Slackers,
Jeff Mills,
Colin Newman,
Dark Day,
Mary Jane Girls,
Black Pus,
Crooked Eye,
Main Source,
David McCallum,
Man Eating Sloth,
James Chance & The Contortions,
Kings Of Tomorrow,
Underground Resistance,
Lungfish,
Don Cherry,
Slave,
Anakelly,
Gang Green,
Audionom,
Sad Lovers and Giants,
Scott Walker,
Boz Scaggs,
Marvin Gaye,
Nick Fraelich,
OOIOO,
Little Man,
Kool G Rap & DJ Polo,
Tommy Roe,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.