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 St Lucia and from Johannesburg.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Manchester and Sao Paulo.
I'm losing my edge to the art-school Calgary 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 Chic practice in a loft in New York.
I was working on the spring reverb sounds with much patience.
I was there when Holger Czukay 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 Aaron Thompson to the jazz kids.
I played it at the 40 Watt.
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 Neil Young. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every JFA record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jawbox,
Sparks,
Anthony Braxton,
Pharoah Sanders,
Sam Rivers,
Marine Girls,
Deadbeat,
The Monochrome Set,
Robert Wyatt,
Mantronix,
Oppenheimer Analysis,
Thinking Fellers Union Local 282,
The Velvet Underground,
Franke,
Kayak,
Camberwell Now,
Joyce Sims,
Pagans,
PIL,
Magazine,
Roy Ayers Ubiquity,
Kool G Rap & DJ Polo,
48th St. Collective,
Popol Vuh,
Marcia Griffiths,
John Lydon,
Quadrant,
A Flock of Seagulls,
Jeru the Damaja,
Youth Brigade,
Blossom Toes,
Warsaw,
Byron Stingily,
Pantaleimon,
The Smoke,
China Crisis,
Groovy Waters,
Accadde A,
Boredoms,
Juan Atkins,
Young Marble Giants,
FM Einheit,
Grandmaster Flash and the Furious Five,
Stetsasonic,
Marvin Gaye,
Harmonia,
The Five Americans,
The Monks,
8 Eyed Spy,
Bobbi Humphrey,
The Golliwogs,
Max Romeo,
Monks,
Toni Rubio,
Maurizio,
Underground Resistance,
Ultramagnetic MC's,
The Young Rascals,
Cybotron,
Von Mondo,
The Index,
Bob Dylan, Bob Dylan, Bob Dylan, Bob Dylan.
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.