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 Belgium and from Cairo.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Glasgow.
I'm losing my edge to the art-school Manila 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Niagra to the crunk 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 Porter Ricks. All the underground hits.
All Manfred Mann's Earth Band tracks. I heard you have a vinyl of every Big Daddy Kane record on German import.
I heard that you have a white label of every seminal dance 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 a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
Curtis Mayfield,
Alton Ellis,
Bootsy's Rubber Band,
Motorama,
Major Organ And The Adding Machine,
The New Christs,
Lalann,
Ronan,
Jesper Dahlbäck,
Black Moon,
Cybotron,
Flipper,
Arthur Verocai,
The Remains,
Franke,
Procol Harum,
The Dead C,
Steve Hackett,
The Blackbyrds,
Lower 48,
Gil Scott-Heron & Brian Jackson,
Tomorrow,
The Count Five,
Sound Behaviour,
Albert Ayler,
D'Angelo,
Faraquet,
Grey Daturas,
Average White Band,
Terry Callier,
Gil Scott-Heron and Jamie xx,
Captain Beefheart & His Magic Band,
The Misunderstood,
The Cure,
Bobby Womack,
Gabor Szabo,
Buzzcocks,
De La Soul & Jungle Brothers,
the Human League,
Quadrant,
Yusef Lateef,
X-102,
The Royal Family And The Poor,
Iggy Pop,
Sad Lovers and Giants,
Orchestral Manoeuvres in the Dark,
Excepter,
Cheater Slicks,
Model 500,
Art Ensemble Of Chicago,
Minnie Riperton,
Chrome,
Minor Threat,
Arcadia,
Marine Girls,
Rufus Thomas,
Mantronix,
Skarface,
Deepchord,
Marvin Gaye,
Rekid,
Schoolly D, Schoolly D, Schoolly D, Schoolly D.
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.