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 Mongolia and from Sao Paulo.
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 1978.
I'm losing my edge.
To all the kids in Toronto and Seoul.
I'm losing my edge to the art-school Toronto 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 J.B.'s to the punk 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 Black Bananas. All the underground hits.
All The Count Five tracks. I heard you have a vinyl of every Mark Hollis record on German import.
I heard that you have a white label of every seminal funk 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 sitar and are throwing your macbook out the window because you want to make something real. You want to make a Reagan Youth 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?
Icehouse,
10cc,
Yaz,
Red Lorry Yellow Lorry,
Jesper Dahlback,
Fugazi,
The Cosmic Jokers,
Loose Ends,
Carl Craig,
Young Marble Giants,
Heavy D & The Boyz,
Man Parrish,
Shuggie Otis,
Wighnomy Brothers & Robag Wruhme,
The Slits,
Sällskapet,
Andrew Hill,
Q65,
Dead Boys,
The Vogues,
Pet Shop Boys,
Drexciya,
Wire,
Piero Umiliani,
Skriet,
Essential Logic,
Fela Kuti,
Simply Red,
Nik Kershaw,
Au Pairs,
The Men They Couldn't Hang,
Johnny Clarke,
Stockholm Monsters,
Captain Beefheart & His Magic Band,
The Martian,
New Order,
Echospace,
Dennis Brown,
Barclay James Harvest,
Ituana,
Barry Ungar,
Liaisons Dangereuses,
L. Decosne,
Subhumans,
Strawberry Alarm Clock,
Dark Day,
Massinfluence,
Bob Dylan,
Soulsonic Force,
Scan 7,
Country Teasers,
David Axelrod,
Electric Prunes,
Sexual Harrassment,
U.S. Maple,
Robert Hood,
Suburban Knight,
The Beau Brummels,
Joey Negro,
Derrick Morgan,
Byron Stingily,
Mo-Dettes,
Faraquet, Faraquet, Faraquet, Faraquet.
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.