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 Morocco and from Edmonton.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Hong Kong.
I'm losing my edge to the art-school Glasgow 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 güiro 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 Pantaleimon to the rap kids.
I played it at the Troubador.
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 Royal Trux. All the underground hits.
All Kerri Chandler tracks. I heard you have a vinyl of every Notorious Big And Bone Thugs record on German import.
I heard that you have a white label of every seminal crunk 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 marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Whodini record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
The Royal Family And The Poor,
Animal Collective,
Subhumans,
Camouflage,
MC5,
Fear,
A Flock of Seagulls,
Bobby Womack,
JFA,
Lightning Bolt,
Peter Gordon & Love of Life Orchestra,
Bronski Beat,
Orchestral Manoeuvres in the Dark,
Deadbeat,
Bootsy's Rubber Band,
Crispy Ambulance,
Throbbing Gristle,
Maurizio,
The Fall,
Echospace,
Brass Construction,
Buzzcocks,
Liaisons Dangereuses,
Blancmange,
CMW,
R.M.O.,
Avey Tare & Kría Brekkan,
Vladislav Delay,
The Star Department,
The Cowsills,
The Beau Brummels,
Desert Stars,
Ronan,
Skriet,
The Standells,
The J.B.'s,
China Crisis,
Brothers Johnson,
Wire,
Mission of Burma,
The Doors,
Scott Walker,
Sarah Menescal,
The Dirtbombs,
Franke,
Hoover,
Art Ensemble Of Chicago,
The Men They Couldn't Hang,
Lyres,
Goldenarms,
Terrestrial Tones,
Aaron Thompson,
Eden Ahbez,
the Association,
Drexciya,
The Gories,
Scan 7,
The Toasters,
Louis and Bebe Barron,
Ronnie Foster,
Cluster,
Joensuu 1685,
Eric Dolphy,
Country Teasers, Country Teasers, Country Teasers, Country Teasers.
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.