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 Tonga and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Johannesburg.
I'm losing my edge to the art-school Columbus 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 rhodes sounds with much patience.
I was there when Lou Reed 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 The Music Machine to the techno kids.
I played it at Cafe Wha.
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 Barbara Tucker. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Eyeless In Gaza 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 '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a World's Most record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ohio Players,
Agent Orange,
Avey Tare,
Von Mondo,
Kas Product,
Con Funk Shun,
Nation of Ulysses,
Erykah Badu,
Rhythm & Sound,
John Holt,
The Sound,
Pussy Galore,
Ronnie Foster,
Ultramagnetic MC's,
Patti Smith,
Parry Music,
Bootsy Collins,
The Fuzztones,
Pantytec,
Suicide,
Dave Gahan,
D'Angelo,
Henry Cow,
Gil Scott Heron,
Rites of Spring,
Dual Sessions,
JFA,
The Fortunes,
Peter Gordon & Love of Life Orchestra,
the Bar-Kays,
Lou Christie,
Khruangbin,
Nas,
Hasil Adkins,
Soulsonic Force,
B.T. Express,
Section 25,
Electric Light Orchestra,
Jesper Dahlbäck,
Groovy Waters,
Boz Scaggs,
Eve St. Jones,
Oneida,
In Retrospect,
Magazine,
Grauzone,
Bizarre Inc.,
Andrew Ashong & Theo Parrish,
Faraquet,
John Foxx,
E-Dancer,
Harpers Bizarre,
Gabor Szabo,
Kayak,
Cal Tjader,
T.S.O.L.,
Sparks,
Scott Walker + Sunn O))),
Davy DMX,
Roy Ayers,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.