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 Portugal and from Sao Paulo.
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 1970.
I'm losing my edge.
To all the kids in Bologna and Mumbai.
I'm losing my edge to the art-school Mexico City 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 rhodes 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 Black Sheep to the dance kids.
I played it at CBGB's.
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 The Young Rascals. All the underground hits.
All ABBA tracks. I heard you have a vinyl of every Arthur Verocai record on German import.
I heard that you have a white label of every seminal rap 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 theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Hill,
Pierre Henry,
Gary Puckett & The Union Gap,
Supertramp,
Barbara Tucker,
Harpers Bizarre,
Slave,
Brass Construction,
Derrick Morgan,
The Raincoats,
Sam Rivers,
Scott Walker,
Terror Squad Feat. Camron,
Joe Finger,
Robert Hood,
Flamin' Groovies,
The Gap Band,
Lower 48,
Selector Dub Narcotic,
Talk Talk,
The Searchers,
Lou Reed,
Larry & the Blue Notes,
Robert Wyatt,
Underground Resistance,
Terrestrial Tones,
ABBA,
Archie Shepp,
Excepter,
Pete Rock & C.L. Smooth,
K-Klass,
Hot Snakes,
Essential Logic,
Nation of Ulysses,
Tommy Roe,
Brothers Johnson,
Von Mondo,
Newcleus,
The Busters,
Massinfluence,
Major Organ And The Adding Machine,
Flipper,
Harmonia,
Scan 7,
Hasil Adkins,
Andrew Ashong & Theo Parrish,
Cymande,
Deakin,
The Fuzztones,
Peter Gordon & Love of Life Orchestra,
EPMD,
Robert Görl,
Matthew Bourne,
Banda Bassotti,
The Blackbyrds,
Index,
Sly & The Family Stone,
The Slits,
In Retrospect,
Mr. Review,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.