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 Syria and from Accra.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Delhi and Philadelphia.
I'm losing my edge to the art-school New York 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the guitar 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 Sonics to the jazz 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 Piero Umiliani. All the underground hits.
All Richard Hell and the Voidoids tracks. I heard you have a vinyl of every Funkadelic 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Swell Maps record.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Adolescents,
Lalo Schifrin,
Bob Dylan,
Cabaret Voltaire,
Matthew Bourne,
The Busters,
Terrestrial Tones,
The Names,
Lungfish,
The Alarm Clocks,
Kauko Röyhkä ja Narttu,
Make Up,
Crispian St. Peters,
Gang Gang Dance,
Ash Ra Tempel,
Marvin Gaye,
Lou Christie,
Liaisons Dangereuses,
The Chocolate Watch Band,
This Heat,
Glambeats Corp.,
Scan 7,
Echospace,
Susan Cadogan,
Metal Thangz,
Dawn Penn,
The Fortunes,
Cal Tjader,
Andrew Ashong & Theo Parrish,
Darondo,
Mark Hollis,
Captain Beefheart & His Magic Band,
The Motions,
Maurizio,
Ultimate Spinach,
Suicide,
Icehouse,
Henry Cow,
Peter and Kerry,
Reuben Wilson,
Angry Samoans,
Maleditus Sound,
James White and The Blacks,
Ten City,
Alphaville,
Second Layer,
T.S.O.L.,
The Offenders,
The Knickerbockers,
Liliput,
Marcia Griffiths,
The Blues Magoos,
Roy Ayers Ubiquity,
Wings,
David Bowie,
Robert Görl,
Pylon,
Con Funk Shun,
James Chance & The Contortions,
The Toasters,
Eyeless In Gaza,
The West Coast Pop Art Experimental Band,
Alison Limerick,
DJ Sneak,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.