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 Saudi Arabia and from Manila.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Milan and Portland.
I'm losing my edge to the art-school Milan 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 linndrum 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 Sunsets and Hearts to the rock 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 The Modern Lovers. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every Moby Grape 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 '70s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a L. Decosne record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Jerry Gold Smith,
Amon Düül II,
Byron Stingily,
Fad Gadget,
Kerrie Biddell,
David Axelrod,
Kerri Chandler,
Echo & the Bunnymen,
Stiv Bators,
Röyhkä ja Rättö ja Lehtisalo,
The Kinks,
Pere Ubu,
OOIOO,
The Gladiators,
The Shadows of Knight,
AZ,
Roxy Music,
The Seeds,
X-102,
Unwound,
Arthur Verocai,
Brass Construction,
Scientists,
Lou Christie,
Scratch Acid,
Hoover,
New Order,
Lalo Schifrin,
The Slits,
Soul Sonic Force,
Avey Tare,
Dennis Brown,
Sun City Girls,
Crispy Ambulance,
Cabaret Voltaire,
Mo-Dettes,
Stockholm Monsters,
Surgeon,
Au Pairs,
Flipper,
the Sonics,
The Mighty Diamonds,
Deadbeat,
Pylon,
The Tremeloes,
Prince Buster,
Bootsy Collins,
The Gap Band,
Ituana,
Ludus,
Avey Tare & Kría Brekkan,
Suicide,
the Swans,
Ash Ra Tempel,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Masters at Work,
The Cosmic Jokers,
James White and The Blacks,
Tears for Fears,
Fatback Band,
Amazonics,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.