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 Zimbabwe and from Salvador.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Salvador and Toronto.
I'm losing my edge to the art-school Shanghai 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the organ 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 Laurel Aitken to the techno kids.
I played it at the Spitz.
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 Germs. All the underground hits.
All T. Rex tracks. I heard you have a vinyl of every Anthony Braxton record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Spoonie Gee record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
Gary Puckett & The Union Gap,
Ohio Players,
Pharoah Sanders,
The American Breed,
Skaos,
The Pop Group,
Tubeway Army,
Warsaw,
Lalann,
Cal Tjader,
It's A Beautiful Day,
These Immortal Souls,
Quantec,
Accadde A,
Heaven 17,
Infiniti,
Kauko Röyhkä ja Narttu,
Beasts of Bourbon,
Skriet,
Gang Gang Dance,
Danielle Patucci,
The Durutti Column,
The Mojo Men,
Crispy Ambulance,
Kenny Larkin,
June Days,
The Skatalites,
LL Cool J,
R.M.O.,
Procol Harum,
Animal Collective,
Swell Maps,
Y Pants,
Barrington Levy,
Larry & the Blue Notes,
Essential Logic,
Big Daddy Kane,
Khruangbin,
UT,
The Count Five,
Scott Walker,
Reagan Youth,
Grandmaster Flash and the Furious Five,
Delta 5,
Lower 48,
Major Organ And The Adding Machine,
Wire,
The Moleskins,
Gang of Four,
Connie Case,
The Young Rascals,
Arcadia,
Parry Music,
Jacob Miller,
Hasil Adkins,
Matthew Bourne,
Kango’s Stein Massive,
kango's stein massive,
The Neon Judgement,
The Techniques,
Davy DMX,
The Seeds, The Seeds, The Seeds, The Seeds.
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.