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 United States and from New York.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Manchester and Lyon.
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 1976 at the first Chic practice in a loft in New York.
I was working on the oboe 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 Jacques Brel to the grime 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 A Certain Ratio. All the underground hits.
All Nico tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Duran Duran,
Gian Franco Pienzio,
Rufus Thomas,
Rowland S Howard / Lydia Lunch,
Joensuu 1685,
The Names,
Tomorrow,
Motorama,
Justin Hinds & The Dominoes,
U.S. Maple,
Ituana,
The Fall,
Lightning Bolt,
Kauko Röyhkä ja Narttu,
Agitation Free,
Byron Stingily,
Terror Squad Feat. Camron,
Barbara Tucker,
The Moody Blues,
Index,
Andrew Hill,
Curtis Mayfield,
Danielle Patucci,
Bluetip,
Metal Thangz,
Connie Case,
Matthew Halsall,
Panda Bear,
The Grass Roots,
Davy DMX,
R.M.O.,
Sixth Finger,
Beasts of Bourbon,
Trumans Water,
Kerri Chandler,
Bizarre Inc.,
The Mummies,
Larry & the Blue Notes,
PIL,
Patti Smith,
Wasted Youth,
Goldenarms,
Rapeman,
Gil Scott Heron,
Bob Dylan,
Black Flag,
Wire,
Barclay James Harvest,
La Düsseldorf,
Orchestral Manoeuvres in the Dark,
Nik Kershaw,
Susan Cadogan,
E-Dancer,
Amon Düül II,
Inner City,
The Kinks,
Dark Day,
The Slits,
Fifty Foot Hose,
Black Moon,
Dorothy Ashby,
Monolake, Monolake, Monolake, Monolake.
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.