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 Liberia and from Milan.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Glasgow.
I'm losing my edge to the art-school Mumbai 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 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 Lou Reed & John Cale to the crunk 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 The Detroit Cobras. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Rosa Yemen 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 '50s cut and another box set from the '70s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry record.
I hear that you and your band have sold your sitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kas Product,
The Litter,
Gang Gang Dance,
Piero Umiliani,
London Community Gospel Choir,
L. Decosne,
Brass Construction,
Blake Baxter,
Althea and Donna,
Newcleus,
Scion,
The Motions,
Cybotron,
Aloha Tigers,
Lee Hazlewood,
China Crisis,
Man Eating Sloth,
Sunsets and Hearts,
Rapeman,
Tears for Fears,
Surgeon,
Bobby Womack,
Rufus Thomas,
The Divine Comedy,
Animal Collective,
Faust,
Gary Puckett & The Union Gap,
Moss Icon,
Amazonics,
Larry & the Blue Notes,
Kenny Larkin,
Von Mondo,
The Gun Club,
These Immortal Souls,
Tubeway Army,
Public Enemy,
Nico,
Fat Boys,
Oneida,
Crooked Eye,
U.S. Maple,
Second Layer,
Sound Behaviour,
Icehouse,
The Star Department,
Bizarre Inc.,
Justin Hinds & The Dominoes,
Desert Stars,
Peter & Gordon,
Ralphi Rosario,
Essential Logic,
Saccharine Trust,
The Mummies,
Byron Stingily,
Scott Walker,
Echospace,
Average White Band,
Connie Case,
Angry Samoans,
Dual Sessions,
The Names, The Names, The Names, The Names.
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.