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 Cameroon and from Edmonton.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Portland and Houston.
I'm losing my edge to the art-school Milan 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the arpeggiator 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 a-ha to the rock kids.
I played it at the Hacienda.
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 Donny Hathaway. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every The Techniques record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
The Standells,
Pete Rock & C.L. Smooth,
Hashim,
Pere Ubu,
Barclay James Harvest,
The Beau Brummels,
John Cale,
The Motions,
The Peanut Butter Conspiracy,
Livin' Joy,
Jacob Miller,
Skarface,
Flash Fearless,
Sonny Sharrock,
Sugar Minott,
Camberwell Now,
DNA,
Adolescents,
Rosa Yemen,
The Alarm Clocks,
Brass Construction,
Lower 48,
The Residents,
Eurythmics,
Rekid,
Marc Almond,
The Litter,
Infiniti,
Nico,
Robert Görl,
Oppenheimer Analysis,
Angels of Light & Akron/Family,
Guru Guru,
Todd Terry,
Isaac Hayes,
Orchestral Manoeuvres in the Dark,
Procol Harum,
Essential Logic,
Funky Four + One,
The Divine Comedy,
Gerry Rafferty,
The Golliwogs,
Schoolly D,
Letta Mbulu,
Excepter,
Underground Resistance,
Kerrie Biddell,
Roy Ayers,
Minor Threat,
Electric Light Orchestra,
Crime,
The Skatalites,
Black Bananas,
Röyhkä ja Rättö ja Lehtisalo,
Nils Olav,
the Swans,
Jerry Gold Smith,
Moss Icon,
The Human League,
Arcadia, Arcadia, Arcadia, Arcadia.
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.