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 Netherlands and from Woodstock.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Milan and Lille.
I'm losing my edge to the art-school Bremen 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 Lewis practice in a loft in Vancouver.
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 The Grass Roots 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 DNA. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Hot Snakes 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 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Clear Light,
Von Mondo,
Boredoms,
the Slits,
Tropical Tobacco,
Wire,
Heaven 17,
Simply Red,
Cameo,
London Community Gospel Choir,
Brand Nubian,
Sugar Minott,
Young Marble Giants,
Ultimate Spinach,
Ronnie Foster,
Sonny Sharrock,
Rapeman,
Funkadelic,
Kango’s Stein Massive,
DJ Style,
Smog,
Faraquet,
Neu!,
Average White Band,
Harpers Bizarre,
Marvin Gaye,
New Age Steppers,
Warsaw,
The Divine Comedy,
Porter Ricks,
Shuggie Otis,
cv313,
Freddie Wadling,
Underground Resistance,
The Seeds,
Dark Day,
Dorothy Ashby,
Crash Course in Science,
The Count Five,
Little Man,
Amon Düül II,
ABBA,
June Days,
Marcia Griffiths,
Popol Vuh,
Fugazi,
Tubeway Army,
Motorama,
Masters at Work,
The Music Machine,
Jerry's Kids,
JFA,
Sam Rivers,
The Toasters,
Josef K,
The Doors,
Quando Quango,
Röyhkä ja Rättö ja Lehtisalo,
Bronski Beat,
Procol Harum,
Lou Reed & John Cale,
Vainqueur, Vainqueur, Vainqueur, Vainqueur.
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.