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 Marshall Islands and from Toronto.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Tehran.
I'm losing my edge to the art-school Jakarta 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 synthesizer 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 The Velvet Underground to the grime kids.
I played it at Trash.
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 Bobby Sherman. All the underground hits.
All Bill Wells tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
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 Minnie Riperton record.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
The Selecter,
Aloha Tigers,
New Order,
Bill Wells,
Parry Music,
Boogie Down Productions,
Joe Finger,
Gong,
Deakin,
The Busters,
Simply Red,
Rhythim Is Rhythim,
Kurtis Blow,
Echospace,
Kas Product,
Fluxion,
The Martian,
Eric B and Rakim,
Pantytec,
Gichy Dan,
Pere Ubu,
Easy Going,
Kings Of Tomorrow,
Jacques Brel,
Bobby Sherman,
Justin Hinds & The Dominoes,
Liaisons Dangereuses,
The Five Americans,
Alphaville,
Fad Gadget,
Byron Stingily,
Masters at Work,
Jesper Dahlback,
Delta 5,
The Vogues,
Agent Orange,
This Heat,
Boz Scaggs,
Quadrant,
Barrington Levy,
Larry & the Blue Notes,
Marcia Griffiths,
Amon Düül II,
a-ha,
The Alarm Clocks,
Yellowson,
Robert Hood,
Spoonie Gee,
The Victims,
The Doobie Brothers,
B.T. Express,
Sugar Minott,
Super Lover Cee & Casanova Rud,
Brand Nubian,
Hardrive,
The Seeds,
Joy Division,
Andrew Ashong & Theo Parrish,
Eve St. Jones, Eve St. Jones, Eve St. Jones, Eve St. Jones.
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.