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 Costa Rica and from Salvador.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Lille and Stockholm.
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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Electric Light Orchestra to the jazz kids.
I played it at the Astoria.
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 Marshall Jefferson. All the underground hits.
All Malaria! tracks. I heard you have a vinyl of every Guru Guru record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marmalade,
Goldenarms,
Minor Threat,
H. Thieme,
Siglo XX,
Rowland S Howard / Lydia Lunch,
Mission of Burma,
Nick Fraelich,
It's A Beautiful Day,
Gil Scott Heron,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Scott Walker,
The Mummies,
Simply Red,
Joensuu 1685,
Negative Approach,
Swell Maps,
Severed Heads,
Camouflage,
The Fuzztones,
The Techniques,
Sister Nancy,
Brothers Johnson,
Sun Ra Arkestra,
Major Organ And The Adding Machine,
David McCallum,
The Golliwogs,
The J.B.'s,
Khruangbin,
World's Most,
Slave,
The Motions,
Porter Ricks,
This Heat,
Boredoms,
Gerry Rafferty,
the Soft Cell,
T.S.O.L.,
The Seeds,
Zapp,
Sam Rivers,
Cabaret Voltaire,
Roy Ayers Ubiquity,
Fat Boys,
Soul Sonic Force,
Pete Rock & C.L. Smooth,
Marshall Jefferson,
Stiv Bators,
The Detroit Cobras,
Wolf Eyes,
Lafayette Afro Rock Band,
Tom Boy,
Inner City,
Liliput,
New Order,
Byron Stingily,
One Last Wish,
Beasts of Bourbon,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.