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 Sierra Leone and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Mumbai.
I'm losing my edge to the art-school Mexico City 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Soul II Soul to the electroclash kids.
I played it at the Hacienda.
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 Notorious Big And Bone Thugs. All the underground hits.
All Swans tracks. I heard you have a vinyl of every Eric Dolphy 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 '60s cut and another box set from the '70s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sparks,
Visage,
The Mighty Diamonds,
Bizarre Inc.,
Con Funk Shun,
Grandmaster Flash,
The Monochrome Set,
Peter & Gordon,
Lizzy Mercier Descloux,
Pierre Henry,
Sun Ra Arkestra,
Minutemen,
A Certain Ratio,
Ken Boothe,
The Detroit Cobras,
Janne Schatter,
Erykah Badu,
Gerry Rafferty,
The Wake,
Au Pairs,
The Moleskins,
Neil Young & Crazy Horse,
Sexual Harrassment,
F. McDonald,
Dorothy Ashby,
Avey Tare & Kría Brekkan,
Audionom,
E-Dancer,
Pharaoh Sanders and the Fire Engines,
Toni Rubio,
Stereo Dub,
The Electric Prunes,
The Litter,
The Saints,
Little Man,
The Five Americans,
Man Parrish,
Gang of Four,
The Divine Comedy,
Minnie Riperton,
The Pop Group,
Banda Bassotti,
Oneida,
Lou Reed & John Cale,
Stockholm Monsters,
Laurel Aitken,
Suburban Knight,
Steve Hackett,
Eurythmics,
Ultramagnetic MC's,
The Fuzztones,
The Fortunes,
The Kinks,
Mandrill,
Albert Ayler,
Delon & Dalcan,
Fat Boys,
Bluetip,
Aaron Thompson,
Roxette,
Rakim,
Jeru the Damaja,
Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes.
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.