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 Kosovo and from Johannesburg.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1971.
I'm losing my edge.
To all the kids in Manchester and Stockholm.
I'm losing my edge to the art-school Woodstock 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 marimba 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 Robert Hood to the crunk 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 Masters at Work. All the underground hits.
All Chris & Cosey tracks. I heard you have a vinyl of every Kayak record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
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 Icehouse record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Neu!,
Aloha Tigers,
Sound Behaviour,
Matthew Bourne,
Magma,
Fugazi,
James White and The Blacks,
David Axelrod,
Mary Jane Girls,
Michelle Simonal,
DeepChord presents Echospace,
Crispy Ambulance,
Danielle Patucci,
Radio Birdman,
Fela Kuti,
One Last Wish,
Howard Jones,
Deepchord,
The Men They Couldn't Hang,
The Moody Blues,
Marine Girls,
Tommy Roe,
The Star Department,
Rakim,
Outsiders,
Notorious Big And Bone Thugs,
Gichy Dan,
Johnny Clarke,
The Doors,
Cheater Slicks,
The Divine Comedy,
Cluster,
Thompson Twins,
The Fortunes,
The Count Five,
Bauhaus,
Dawn Penn,
Roxette,
Camron Feat. Memphis Bleek And Beenie Seigel,
B.T. Express,
Rowland S Howard / Lydia Lunch,
Dorothy Ashby,
Andrew Ashong & Theo Parrish,
The Happenings,
Eddi Front,
Interpol,
DNA,
ABBA,
Fluxion,
Slave,
Byron Stingily,
Kayak,
Cymande,
Accadde A,
Mission of Burma,
Adolescents,
Country Joe & The Fish,
Crash Course in Science,
The Grass Roots,
Steve Hackett,
The Leaves,
Roxy Music,
The Stooges, The Stooges, The Stooges, The Stooges.
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.