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 Ghana and from Lyon.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Edmonton and Bologna.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba sounds with much patience.
I was there when Robert Palmer 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 In Retrospect to the crunk kids.
I played it at the Hacienda.
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 Avey Tare. All the underground hits.
All Soul Sonic Force tracks. I heard you have a vinyl of every Roy Ayers Ubiquity 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ituana,
Röyhkä ja Rättö ja Lehtisalo,
Bill Near,
Mark Hollis,
Loose Ends,
Sonic Youth,
Minutemen,
Peter Gordon & Love of Life Orchestra,
The Beau Brummels,
Visage,
Gian Franco Pienzio,
Teenage Jesus and the Jerks,
James White and The Blacks,
Surgeon,
the Normal,
Davy DMX,
Howard Jones,
The Modern Lovers,
Soft Machine,
Black Bananas,
Interpol,
Cybotron,
Marine Girls,
Kango’s Stein Massive,
Manfred Mann's Earth Band,
Theoretical Girls,
Fluxion,
Talk Talk,
The Real Kids,
Freddie Wadling,
June of 44,
Black Flag,
Malaria!,
Sister Nancy,
Siglo XX,
Boredoms,
ABC,
Archie Shepp,
Jeff Mills,
Kerri Chandler,
Cecil Taylor,
K-Klass,
The Blackbyrds,
DNA,
The Mighty Diamonds,
The Young Rascals,
Country Teasers,
The Mummies,
Organ,
The Kinks,
Joe Finger,
Motorama,
Half Japanese,
X-101,
Buzzcocks,
Intrusion,
Michelle Simonal,
The Monochrome Set,
The Fugs,
Jacob Miller,
The Pop Group,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.