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 Pakistan and from Glasgow.
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 1977.
I'm losing my edge.
To all the kids in Winnipeg and Portland.
I'm losing my edge to the art-school Accra 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 1973 at the first Television practice in a loft in New York.
I was working on the chamberlin 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 Accadde A to the crunk kids.
I played it at the Astoria.
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 Lakeside. All the underground hits.
All Yusef Lateef tracks. I heard you have a vinyl of every Todd Rundgren 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 '70s.
I hear you're buying a synthesizer and an arpeggiator 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 mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronnie Foster,
The Invisible,
Chris Corsano,
Dave Gahan,
Niagra,
Boogie Down Productions,
Curtis Mayfield,
Sister Nancy,
Dorothy Ashby,
A Certain Ratio,
Marcia Griffiths,
Gerry Rafferty,
The Jesus and Mary Chain,
MDC,
Matthew Bourne,
Pussy Galore,
Blossom Toes,
Rod Modell,
Major Organ And The Adding Machine,
Eric B and Rakim,
Lou Reed,
Quadrant,
Half Japanese,
The Selecter,
Barclay James Harvest,
EPMD,
Glambeats Corp.,
Boredoms,
The Gladiators,
Average White Band,
Lou Christie,
Soul II Soul,
Maleditus Sound,
Joe Smooth,
Whodini,
Rowland S Howard / Lydia Lunch,
Jeff Mills,
Nas,
Eve St. Jones,
Lower 48,
The Toasters,
Bang on a Can All-Stars,
Negative Approach,
Arab on Radar,
Barbara Tucker,
Brothers Johnson,
Kerri Chandler,
Girls At Our Best!,
June of 44,
Spandau Ballet,
X-Ray Spex,
Unwound,
The Fortunes,
Surgeon,
The Smiths,
Radiopuhelimet,
Khruangbin,
Magma,
Hoover,
Ultra Naté,
Gil Scott-Heron and Jamie xx,
Ultravox, Ultravox, Ultravox, Ultravox.
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.