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 Kenya and from Accra.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Edmonton and Delhi.
I'm losing my edge to the art-school Lille 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 Zapp practice in a loft in Hamilton.
I was working on the 808 sounds with much patience.
I was there when Donald Fagen 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 Inner City to the disco kids.
I played it at the 40 Watt.
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 Susan Cadogan. All the underground hits.
All the Fania All-Stars tracks. I heard you have a vinyl of every Bobby Sherman record on German import.
I heard that you have a white label of every seminal crunk 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 a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your snare and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harry Pussy,
Saccharine Trust,
Whodini,
Gang Gang Dance,
Terry Callier,
Gil Scott-Heron and Jamie xx,
Girls At Our Best!,
The Beau Brummels,
Technova,
Country Joe & The Fish,
The Electric Prunes,
OOIOO,
Mantronix,
Oppenheimer Analysis,
Lonnie Liston Smith,
Anthony Braxton,
Au Pairs,
Johnny Clarke,
Flash Fearless,
Alton Ellis,
The Doobie Brothers,
Roy Ayers,
Marine Girls,
Slick Rick,
Roy Ayers Ubiquity,
X-Ray Spex,
Smog,
Derrick Morgan,
Robert Hood,
Pharoah Sanders,
DNA,
Second Layer,
Model 500,
The Cure,
Harpers Bizarre,
Crash Course in Science,
The American Breed,
June of 44,
Pussy Galore,
Das Ding,
Vladislav Delay,
The Pop Group,
Kango’s Stein Massive,
Moss Icon,
the Human League,
Kerrie Biddell,
David McCallum,
Parry Music,
Gang Green,
Isaac Hayes,
Urselle,
The Neon Judgement,
Peter Gordon & Love of Life Orchestra,
The Fuzztones,
Carl Craig,
Bauhaus,
Mr. Review,
Moby Grape,
The Dead C,
Darondo,
James Chance & The Contortions,
E-Dancer,
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.