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 Tuvalu and from Glasgow.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1962 to 1972.
I'm losing my edge.
To all the kids in New York and Shanghai.
I'm losing my edge to the art-school New York 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Donald Fagen 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 Ornette Coleman to the electroclash kids.
I played it at the Roxy.
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 Monks. All the underground hits.
All Warsaw tracks. I heard you have a vinyl of every Bobby Sherman record on German import.
I heard that you have a white label of every seminal disco 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 mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Easy Going record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mission of Burma,
Japan,
Pharoah Sanders,
Sam Rivers,
Crispian St. Peters,
Visage,
Cecil Taylor,
Parry Music,
Bobby Hutcherson,
Jacob Miller,
Roxy Music,
Eurythmics,
Gabor Szabo,
The Move,
Roy Ayers Ubiquity,
Morten Harket,
Matthew Bourne,
Blossom Toes,
Joey Negro,
Tomorrow,
Nas,
Gichy Dan,
Stockholm Monsters,
Youth Brigade,
Gian Franco Pienzio,
Soul II Soul,
David Axelrod,
Newcleus,
Ronan,
Nick Fraelich,
Wighnomy Brothers & Robag Wruhme,
PIL,
The Smiths,
Kenny Larkin,
Interpol,
The Shadows of Knight,
Man Eating Sloth,
AZ,
The Mojo Men,
Franke,
Alison Limerick,
Andrew Hill,
Gastr Del Sol,
Crash Course in Science,
Tom Boy,
The Pretty Things,
Index,
Massinfluence,
Scott Walker + Sunn O))),
Andrew Ashong & Theo Parrish,
Hoover,
The Angels of Light,
Pantytec,
The Walker Brothers,
Desert Stars,
ABC,
X-101,
The Fall,
Matthew Halsall,
L. Decosne,
Soulsonic Force,
Fear,
The Smoke, The Smoke, The Smoke, The Smoke.
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.