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 Pakistan and from Shanghai.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Milan and Shanghai.
I'm losing my edge to the art-school Hong Kong 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 oboe 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 Agitation Free 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 Jeff Mills. All the underground hits.
All Traffic Nightmare tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal punk 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 linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your sitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stiv Bators,
Amon Düül II,
Selector Dub Narcotic,
Nas,
Pharoah Sanders,
Marc Romboy vs. Booka Shade,
Lonnie Liston Smith,
Dorothy Ashby,
These Immortal Souls,
Fluxion,
The Busters,
The United States of America,
Jesper Dahlbäck,
Underground Resistance,
The Angels of Light,
Qualms,
The Doors,
Letta Mbulu,
Connie Case,
Zero Boys,
Goldenarms,
Absolute Body Control,
Alton Ellis,
cv313,
Roy Ayers Ubiquity,
Art Ensemble Of Chicago,
La Düsseldorf,
The Fall,
Matthew Bourne,
The Royal Family And The Poor,
Kevin Saunderson,
Black Sheep,
June Days,
The Gories,
Barrington Levy,
Slick Rick,
Grauzone,
China Crisis,
Patti Smith,
Jeff Lynne,
John Foxx,
Rotary Connection,
Strawberry Alarm Clock,
Glenn Branca,
Tropical Tobacco,
the Slits,
Half Japanese,
Urselle,
A Flock of Seagulls,
Funky Four + One,
Derrick May,
Gerry Rafferty,
Radio Birdman,
Bobby Byrd,
The Electric Prunes,
Scan 7,
Pierre Henry,
Aural Exciters,
Livin' Joy,
Eve St. Jones,
Negative Approach,
Sonny Sharrock,
Electric Light Orchestra,
David McCallum, David McCallum, David McCallum, David McCallum.
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.