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 Syria and from Taipei.
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 Lille and Edmonton.
I'm losing my edge to the art-school Lagos 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb 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 Scrapy to the rap kids.
I played it at the Roxy.
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 Ten City. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every The Durutti Column record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
Tom Boy,
Andrew Hill,
Bill Wells,
The Electric Prunes,
Wings,
Strawberry Alarm Clock,
Peter & Gordon,
The Techniques,
Jeru the Damaja,
Kauko Röyhkä ja Narttu,
Joyce Sims,
Idris Muhammad,
The Young Rascals,
Cal Tjader,
Brothers Johnson,
Barrington Levy,
These Immortal Souls,
Gang of Four,
Funky Four + One,
Unrelated Segments,
Pierre Henry,
Ultimate Spinach,
Echo & the Bunnymen,
The Searchers,
Grandmaster Flash,
The Mummies,
The Count Five,
Pharaoh Sanders and the Fire Engines,
Zapp,
Mad Mike,
Kings Of Tomorrow,
Siouxsie and the Banshees,
Boogie Down Productions,
Notorious Big And Bone Thugs,
Larry & the Blue Notes,
Lou Reed,
Captain Beefheart & His Magic Band,
The Men They Couldn't Hang,
Amon Düül,
Eric Dolphy,
Super Lover Cee & Casanova Rud,
Judy Mowatt,
Man Eating Sloth,
Jawbox,
Hardrive,
Jesper Dahlbäck,
a-ha,
Von Mondo,
Cymande,
Lalann,
Throbbing Gristle,
Sparks,
Bizarre Inc.,
Robert Görl,
Fort Wilson Riot,
Moss Icon,
Ken Boothe,
Toni Rubio,
Kayak,
Lee Hazlewood,
T. Rex,
Newcleus,
Traffic Nightmare, Traffic Nightmare, Traffic Nightmare, Traffic Nightmare.
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.