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 Micronesia and from Lyon.
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 1977.
I'm losing my edge.
To all the kids in Philadelphia and Woodstock.
I'm losing my edge to the art-school Salvador 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the organ sounds with much patience.
I was there when Lou Reed 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 Zero Boys to the rap kids.
I played it at CBGB's.
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 Erasure. All the underground hits.
All Harmonia tracks. I heard you have a vinyl of every Popol Vuh 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 '50s cut and another box set from the '70s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul II Soul,
Black Sheep,
Minnie Riperton,
LL Cool J,
Avey Tare & Kría Brekkan,
Unwound,
The Fire Engines,
Kerri Chandler,
Glenn Branca,
Skarface,
Robert Görl,
The Trojans,
Spandau Ballet,
Gerry Rafferty,
X-101,
Skaos,
Saccharine Trust,
London Community Gospel Choir,
Fort Wilson Riot,
Average White Band,
The Modern Lovers,
Yellowson,
Stockholm Monsters,
Gil Scott Heron,
Yaz,
Jerry Gold Smith,
Fad Gadget,
Orchestral Manoeuvres in the Dark,
Neil Young,
Derrick Morgan,
Scratch Acid,
Dorothy Ashby,
Easy Going,
Bobby Womack,
Ultramagnetic MC's,
James White and The Blacks,
Wasted Youth,
Sparks,
Bad Manners,
Spoonie Gee,
Beasts of Bourbon,
Freddie Wadling,
James Chance & The Contortions,
Delta 5,
Television Personalities,
Khruangbin,
Agitation Free,
David Axelrod,
The Durutti Column,
Jeru the Damaja,
Andrew Hill,
The Motions,
Reagan Youth,
Moss Icon,
John Foxx,
Crash Course in Science,
Art Ensemble Of Chicago,
Radio Birdman,
Dual Sessions,
The Golliwogs,
Mad Mike,
Quando Quango,
Slave, Slave, Slave, Slave.
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.