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 Japan and from Accra.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Toronto and Bremen.
I'm losing my edge to the art-school Manila 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 güiro 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 D'Angelo to the disco 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 John Lydon. All the underground hits.
All U.S. Maple tracks. I heard you have a vinyl of every Ice-T 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Danielle Patucci record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Donald Byrd,
The J.B.'s,
Clear Light,
Hoover,
Gerry Rafferty,
Icehouse,
Jeru the Damaja,
Amon Düül II,
Andrew Hill,
Bronski Beat,
The Saints,
Spandau Ballet,
The Searchers,
Eve St. Jones,
Chris & Cosey,
Janne Schatter,
Lou Reed,
Hasil Adkins,
London Community Gospel Choir,
Cal Tjader,
The Moody Blues,
Kool Moe Dee,
Gichy Dan,
Drive Like Jehu,
Matthew Halsall,
The Stooges,
T.S.O.L.,
Swell Maps,
Angels of Light & Akron/Family,
The Flesh Eaters,
The Seeds,
Technova,
Alice Coltrane,
Fifty Foot Hose,
X-102,
Blossom Toes,
A Flock of Seagulls,
Echospace,
Popol Vuh,
H. Thieme,
Kayak,
Vainqueur,
Supertramp,
Panda Bear,
Bootsy Collins,
Josef K,
Rod Modell,
Super Lover Cee & Casanova Rud,
Jerry's Kids,
The Jesus and Mary Chain,
the Germs,
ABC,
Scion,
Symarip,
Guru Guru,
Ronnie Foster,
a-ha,
Traffic Nightmare,
Barrington Levy,
Peter and Kerry,
The Slits,
Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra.
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.