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 South Sudan and from Tehran.
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 1974.
I'm losing my edge.
To all the kids in Lille and Columbus.
I'm losing my edge to the art-school Cairo 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 Lou Reed 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 Lyres to the funk 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 Art Ensemble Of Chicago. All the underground hits.
All ABC tracks. I heard you have a vinyl of every The Fuzztones 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 oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Vogues record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Motorama,
Man Parrish,
Thompson Twins,
Pete Rock & C.L. Smooth,
Eric Copeland,
Zero Boys,
Rhythm & Sound,
Fela Kuti,
Intrusion,
Sun Ra,
Andrew Hill,
Radiohead,
Larry & the Blue Notes,
Tim Buckley,
Andrew Ashong & Theo Parrish,
Lonnie Liston Smith,
Mo-Dettes,
Josef K,
Nas,
Country Joe & The Fish,
Sad Lovers and Giants,
Kerrie Biddell,
Pharoah Sanders,
Lou Reed,
Bush Tetras,
Absolute Body Control,
The Index,
Sexual Harrassment,
Hoover,
Can,
The Black Dice,
Monolake,
Drive Like Jehu,
H. Thieme,
The Pretty Things,
Jimmy McGriff,
Aural Exciters,
Michelle Simonal,
Metal Thangz,
Depeche Mode,
Grey Daturas,
Shoche,
Gian Franco Pienzio,
Average White Band,
ABBA,
The Chocolate Watch Band,
The Gun Club,
Idris Muhammad,
Gerry Rafferty,
Joe Smooth,
Jerry Gold Smith,
Chris & Cosey,
Con Funk Shun,
Iggy Pop,
Gabor Szabo,
Ultravox,
The Barracudas,
Arab on Radar,
The Busters,
Shuggie Otis,
Thinking Fellers Union Local 282,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.