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 Trinidad & Tobago and from Cairo.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Manchester and Hong Kong.
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 1967 at the first Rodriguez practice in a loft in Detroit.
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 Bizarre Inc. to the grime kids.
I played it at CBGB's.
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 June of 44. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Whodini 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 sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joey Negro,
Khruangbin,
Sunsets and Hearts,
Delon & Dalcan,
The Sound,
Ultramagnetic MC's,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ludus,
Grey Daturas,
Janne Schatter,
Ronnie Foster,
Quantec,
Radio Birdman,
Rufus Thomas,
Ice-T,
MDC,
Agitation Free,
Minny Pops,
Minor Threat,
Underground Resistance,
Nico,
Gong,
Little Man,
Audionom,
48th St. Collective,
The Divine Comedy,
The Cowsills,
Matthew Bourne,
The Slits,
Roger Hodgson,
The Angels of Light,
Model 500,
Davy DMX,
Infiniti,
Gang Green,
Patti Smith,
Kool G Rap & DJ Polo,
Index,
Alton Ellis,
Chrome,
Johnny Osbourne,
Agent Orange,
Moby Grape,
Siglo XX,
Throbbing Gristle,
John Holt,
Hasil Adkins,
Pagans,
Faust,
Steve Hackett,
The Raincoats,
Con Funk Shun,
Deepchord,
Quando Quango,
Tommy Roe,
Connie Case,
the Slits,
Piero Umiliani,
Amon Düül,
F. McDonald,
Country Joe & The Fish,
Deakin, Deakin, Deakin, Deakin.
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.