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 Iran and from Jakarta.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Tokyo.
I'm losing my edge to the art-school Tokyo 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the organ 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 Nation of Ulysses to the funk 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 It's A Beautiful Day. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Piero Umiliani record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Susan Cadogan record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
Pantytec,
Lou Reed & John Cale,
The Shadows of Knight,
Fatback Band,
Black Sheep,
Con Funk Shun,
Von Mondo,
Visage,
PIL,
Tubeway Army,
Mr. Review,
Electric Light Orchestra,
JFA,
Tommy Roe,
Crispy Ambulance,
Franke,
Bill Near,
Sixth Finger,
Reuben Wilson,
Drive Like Jehu,
Boz Scaggs,
Chris & Cosey,
Bauhaus,
Zapp,
the Soft Cell,
Subhumans,
The Leaves,
The West Coast Pop Art Experimental Band,
Siglo XX,
Severed Heads,
Justin Hinds & The Dominoes,
Gong,
Isaac Hayes,
Be Bop Deluxe,
Roy Ayers Ubiquity,
Todd Rundgren,
The American Breed,
Ohio Players,
Wolf Eyes,
Neil Young & Crazy Horse,
David McCallum,
The Residents,
Joey Negro,
Black Bananas,
The Velvet Underground,
The Happenings,
Johnny Osbourne,
Kurtis Blow,
Joensuu 1685,
Gian Franco Pienzio,
Howard Jones,
Quando Quango,
Urselle,
Television Personalities,
L. Decosne,
Clear Light,
John Foxx,
Niagra,
Strawberry Alarm Clock,
Patti Smith,
Icehouse, Icehouse, Icehouse, Icehouse.
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.