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 Congo and from Manila.
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 1972.
I'm losing my edge.
To all the kids in Salvador and Johannesburg.
I'm losing my edge to the art-school Delhi 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 clarinet 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 Cowsills to the funk kids.
I played it at Trash.
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 Gil Scott Heron. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Sparks record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tubeway Army,
Wally Richardson,
Quadrant,
Icehouse,
The Gladiators,
Gary Puckett & The Union Gap,
New Age Steppers,
Eddi Front,
Toni Rubio,
Pharaoh Sanders and the Fire Engines,
Bill Wells,
Strawberry Alarm Clock,
Talk Talk,
Vaughan Mason & Crew,
Sällskapet,
Au Pairs,
Lower 48,
Pagans,
Dark Day,
Orchestral Manoeuvres in the Dark,
The Evens,
Jeff Lynne,
Masters at Work,
LL Cool J,
Main Source,
Amazonics,
Kerri Chandler,
Surgeon,
The Smoke,
Basic Channel,
Rod Modell,
This Heat,
Skriet,
Man Parrish,
D'Angelo,
Aloha Tigers,
a-ha,
Roy Ayers Ubiquity,
Lonnie Liston Smith,
Steve Hackett,
Make Up,
Kango’s Stein Massive,
Derrick May,
H. Thieme,
Intrusion,
Max Romeo,
The Mummies,
Byron Stingily,
Bill Near,
Yazoo,
The Wake,
The Trojans,
Grey Daturas,
Stiv Bators,
Joensuu 1685,
Alice Coltrane,
Deadbeat,
Wighnomy Brothers & Robag Wruhme,
Soul Sonic Force,
Röyhkä ja Rättö ja Lehtisalo,
Maleditus Sound,
Maurizio,
Ludus, Ludus, Ludus, Ludus.
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.