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 Afghanistan and from Spokane.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1965 to 1979.
I'm losing my edge.
To all the kids in Delhi and Tehran.
I'm losing my edge to the art-school Edmonton 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Laurel Aitken to the grime 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 Ken Boothe. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal jazz 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 güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sarah Menescal record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
Black Moon,
Lonnie Liston Smith,
The Residents,
Robert Wyatt,
The Angels of Light,
The Pretty Things,
The Trojans,
Second Layer,
Blossom Toes,
Crispy Ambulance,
Black Flag,
Japan,
Make Up,
Liaisons Dangereuses,
Negative Approach,
Icehouse,
Public Image Ltd.,
Technova,
Ajijia Myrayebe,
Rahsaan Roland Kirk,
Big Daddy Kane,
Parry Music,
Reagan Youth,
Max Romeo,
Röyhkä ja Rättö ja Lehtisalo,
Sly & The Family Stone,
Man Eating Sloth,
Cal Tjader,
the Human League,
Larry & the Blue Notes,
The Offenders,
The Zeros,
Bizarre Inc.,
Bill Near,
Yusef Lateef,
Flipper,
Agent Orange,
Black Pus,
Organ,
Ultra Naté,
Fela Kuti,
Silicon Teens,
Fifty Foot Hose,
Sparks,
The Star Department,
Trumans Water,
Qualms,
T. Rex,
Crime,
Camron Feat. Memphis Bleek And Beenie Seigel,
Jeff Lynne,
The Smoke,
Bobbi Humphrey,
Average White Band,
Sonic Youth,
Q and Not U,
Ohio Players,
The Jesus and Mary Chain,
Masters at Work,
Gerry Rafferty,
Hardrive,
Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish, Country Joe & The Fish.
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.