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 Philippines and from Spokane.
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 1967 to 1976.
I'm losing my edge.
To all the kids in New York and New York.
I'm losing my edge to the art-school Philadelphia 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the sitar 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 Lindisfarne to the grime kids.
I played it at the Spitz.
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 Procol Harum. All the underground hits.
All Wings tracks. I heard you have a vinyl of every Fear record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Slave record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ossler,
Sällskapet,
Boredoms,
Dual Sessions,
John Foxx,
Angry Samoans,
Wolf Eyes,
Crash Course in Science,
Matthew Halsall,
Ralphi Rosario,
Siglo XX,
Strawberry Alarm Clock,
Excepter,
Alice Coltrane,
The Moleskins,
Anakelly,
Oneida,
Pharoah Sanders,
Flipper,
Drexciya,
Minny Pops,
Camberwell Now,
Rod Modell,
Marshall Jefferson,
Little Man,
Japan,
The Durutti Column,
The Walker Brothers,
Henry Cow,
The Last Poets,
Model 500,
The Fuzztones,
Malaria!,
Rakim,
Ice-T,
Arthur Verocai,
Archie Shepp,
Kas Product,
Junior Murvin,
Magazine,
The Pop Group,
Lebanon Hanover,
Todd Rundgren,
Soulsonic Force,
Laurel Aitken,
Procol Harum,
Roy Ayers Ubiquity,
Swans,
Niagra,
Jimmy McGriff,
The Cure,
Bill Near,
Sly & The Family Stone,
Joy Division,
Dawn Penn,
Moss Icon,
Manfred Mann's Earth Band,
Electric Prunes,
Sad Lovers and Giants,
Blake Baxter,
The Gladiators,
The New Christs, The New Christs, The New Christs, The New Christs.
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.