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 Palau and from Glasgow.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Cairo and Winnipeg.
I'm losing my edge to the art-school Madrid 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 808 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 Al Stewart to the punk kids.
I played it at the Roxy.
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 Curtis Mayfield. All the underground hits.
All Teenage Jesus and the Jerks tracks. I heard you have a vinyl of every Jeff Lynne 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 '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry 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?
Rakim,
Soul Sonic Force,
The Move,
Echospace,
Ultravox,
K-Klass,
The Saints,
Whodini,
Connie Case,
Iggy Pop,
a-ha,
James Chance & The Contortions,
the Bar-Kays,
ABBA,
Roxy Music,
Lee Hazlewood,
Mantronix,
Drive Like Jehu,
Notorious Big And Bone Thugs,
The Fuzztones,
the Human League,
Jacques Brel,
Prince Buster,
Moss Icon,
Simply Red,
Oppenheimer Analysis,
Frankie Knuckles,
Pulsallama,
E-Dancer,
Shoche,
Tropical Tobacco,
Stetsasonic,
The Residents,
Joe Smooth,
Maurizio,
DeepChord presents Echospace,
The Dave Clark Five,
Public Image Ltd.,
John Cale,
Lightning Bolt,
Panda Bear,
Alice Coltrane,
Juan Atkins,
Stiv Bators,
The Last Poets,
Rapeman,
Lakeside,
Quantec,
Jerry's Kids,
the Soft Cell,
Slave,
Erykah Badu,
Art Ensemble Of Chicago,
Lou Reed,
Rotary Connection,
Reuben Wilson,
Bauhaus,
Barbara Tucker,
Suburban Knight, Suburban Knight, Suburban Knight, Suburban Knight.
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.