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 Andorra and from Jakarta.
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 1976.
I'm losing my edge.
To all the kids in Taipei and New York.
I'm losing my edge to the art-school Bremen 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 linndrum 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 Ajijia Myrayebe to the techno kids.
I played it at the Crocodile.
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 The Royal Family And The Poor. All the underground hits.
All The Misunderstood tracks. I heard you have a vinyl of every Vaughan Mason & Crew record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a This Heat record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rotary Connection,
Lou Christie,
Pulsallama,
The Sisters of Mercy,
Brand Nubian,
Don Cherry,
Funkadelic,
The Monochrome Set,
Minutemen,
Cabaret Voltaire,
Marcia Griffiths,
X-101,
The Beau Brummels,
Monolake,
Procol Harum,
Boogie Down Productions,
The Alarm Clocks,
Aural Exciters,
Stetsasonic,
Dorothy Ashby,
Little Man,
Joey Negro,
Girls At Our Best!,
The Peanut Butter Conspiracy,
Fela Kuti,
Althea and Donna,
Amon Düül,
Public Image Ltd.,
Kaleidoscope,
Stiv Bators,
Q65,
Rod Modell,
Hashim,
Manfred Mann's Earth Band,
Moss Icon,
Louis and Bebe Barron,
The Dirtbombs,
The Doors,
Leonard Cohen,
Public Enemy,
Flash Fearless,
Echo & the Bunnymen,
Tommy Roe,
Big Daddy Kane,
Carl Craig,
Spoonie Gee,
Tres Demented,
Funky Four + One,
Justin Hinds & The Dominoes,
Hoover,
Colin Newman,
Dr. Dre and Snoop Doggy Dog,
Gastr Del Sol,
Teenage Jesus and the Jerks,
Black Sheep,
Can,
Robert Wyatt,
Ultra Naté,
Joe Smooth,
Masters at Work,
Gil Scott-Heron & Brian Jackson,
The Raincoats,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.