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 Senegal and from Portland.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Columbus and Salvador.
I'm losing my edge to the art-school Accra 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 chamberlin 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 Lakeside to the crunk kids.
I played it at the Troubador.
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 Aaron Thompson. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every Mandrill 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 '60s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Index,
The Monochrome Set,
The Red Krayola,
Masters at Work,
UT,
Judy Mowatt,
The Cramps,
Eli Mardock,
Intrusion,
Minnie Riperton,
Jeff Mills,
Adolescents,
The Walker Brothers,
Procol Harum,
Ken Boothe,
Yellowson,
In Retrospect,
The Zeros,
The Detroit Cobras,
Ultimate Spinach,
Idris Muhammad,
Fifty Foot Hose,
David McCallum,
The Misunderstood,
The Offenders,
Scratch Acid,
Average White Band,
Nick Cave & The Bad Seeds,
MDC,
Sarah Menescal,
Quadrant,
Dorothy Ashby,
Whodini,
Scrapy,
Jacob Miller,
Black Bananas,
Panda Bear,
A Flock of Seagulls,
The Sisters of Mercy,
Thee Headcoats,
The Vogues,
David Axelrod,
The Men They Couldn't Hang,
the Bar-Kays,
Yazoo,
Lafayette Afro Rock Band,
Beasts of Bourbon,
kango's stein massive,
Thinking Fellers Union Local 282,
The Music Machine,
Jacques Brel,
Robert Wyatt,
Mark Hollis,
Louis and Bebe Barron,
Circle Jerks,
The Fire Engines,
Scion,
Organ,
Aural Exciters,
Man Parrish,
The Smoke,
Flipper,
Eddi Front, Eddi Front, Eddi Front, Eddi Front.
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.