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 Solomon Islands and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1975.
I'm losing my edge.
To all the kids in Delhi and Houston.
I'm losing my edge to the art-school Cairo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer 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 Traffic Nightmare to the jazz 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 Inner City. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Dual Sessions 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Al Stewart,
The Music Machine,
Shuggie Otis,
Sparks,
Gregory Isaacs,
Soulsonic Force,
Fluxion,
Camberwell Now,
Lindisfarne,
Chris Corsano,
Nick Cave & The Bad Seeds,
A Flock of Seagulls,
Camouflage,
Depeche Mode,
X-Ray Spex,
The Mojo Men,
Malaria!,
Duran Duran,
Wings,
Gang Gang Dance,
Hasil Adkins,
Heaven 17,
Hashim,
Kool Moe Dee,
Marmalade,
The Royal Family And The Poor,
Urselle,
Freddie Wadling,
Jeff Lynne,
Röyhkä ja Rättö ja Lehtisalo,
Oppenheimer Analysis,
The Shadows of Knight,
Vaughan Mason & Crew,
Symarip,
Kurtis Blow,
Johnny Osbourne,
Jimmy McGriff,
Richard Hell and the Voidoids,
Ossler,
Silicon Teens,
Joe Finger,
The Divine Comedy,
Newcleus,
Lafayette Afro Rock Band,
PIL,
Bang on a Can All-Stars,
Bush Tetras,
Gil Scott-Heron and Jamie xx,
The Blackbyrds,
Erasure,
Rahsaan Roland Kirk,
Sällskapet,
Kings Of Tomorrow,
The Fall,
DeepChord presents Echospace,
Pierre Henry,
Model 500,
Bill Near,
Marcia Griffiths,
Angry Samoans,
Von Mondo,
Pantaleimon,
Fear, Fear, Fear, Fear.
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.