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 Nigeria and from Portland.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Milan.
I'm losing my edge to the art-school Stockholm 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 snare 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 Rotary Connection to the crunk kids.
I played it at the Spitz.
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 Sad Lovers and Giants. All the underground hits.
All Nils Olav 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 dance 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 a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scion,
Marmalade,
Groovy Waters,
The Standells,
Warsaw,
Moss Icon,
The Zeros,
Glambeats Corp.,
Masters at Work,
Letta Mbulu,
The Pop Group,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Martian,
Strawberry Alarm Clock,
The Gun Club,
Kings Of Tomorrow,
John Coltrane,
Donny Hathaway,
Major Organ And The Adding Machine,
Nico,
Cecil Taylor,
X-Ray Spex,
Terrestrial Tones,
The Happenings,
Tropical Tobacco,
Camron Feat. Jay Z And Juelz,
Mantronix,
Yazoo,
Ash Ra Tempel,
The Blackbyrds,
Cal Tjader,
The Saints,
Technova,
Stiv Bators,
Vainqueur,
The Alarm Clocks,
Gerry Rafferty,
James White and The Blacks,
Cameo,
The Doors,
Maleditus Sound,
Japan,
The West Coast Pop Art Experimental Band,
The Associates,
The Durutti Column,
Basic Channel,
Nik Kershaw,
Echo & the Bunnymen,
The Dead C,
Rakim,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Gap Band,
Reagan Youth,
Notorious BIG live in Amsterdam,
Oblivians,
Ultra Naté,
Gil Scott-Heron and Jamie xx,
Kaleidoscope,
Procol Harum,
Minnie Riperton,
The Cramps,
Kayak,
Wings,
John Cale, John Cale, John Cale, John Cale.
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.