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 Netherlands and from Madrid.
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 1979.
I'm losing my edge.
To all the kids in Stockholm and Manila.
I'm losing my edge to the art-school Lille 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 Chic practice in a loft in New York.
I was working on the clarinet 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 Wasted Youth to the rock 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 Selector Dub Narcotic. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every John Foxx record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
One Last Wish,
Steve Hackett,
Circle Jerks,
Loose Ends,
Jeru the Damaja,
Lebanon Hanover,
Gabor Szabo,
cv313,
A Flock of Seagulls,
Joey Negro,
Oppenheimer Analysis,
Rotary Connection,
Sonic Youth,
The Fuzztones,
Sparks,
Dark Day,
Orchestral Manoeuvres in the Dark,
Crime,
The Invisible,
Max Romeo,
The Selecter,
Fat Boys,
Isaac Hayes,
Q and Not U,
DJ Sneak,
Brass Construction,
Byron Stingily,
Make Up,
Joe Smooth,
Agent Orange,
Tim Buckley,
Motorama,
Eli Mardock,
Anthony Braxton,
Art Ensemble Of Chicago,
Inner City,
Basic Channel,
Lou Reed,
Yazoo,
Peter & Gordon,
Sun Ra Arkestra,
Barry Ungar,
Wally Richardson,
Bluetip,
Sly & The Family Stone,
Jeff Lynne,
Ultimate Spinach,
Laurel Aitken,
Michelle Simonal,
Lungfish,
Sticky Fingaz feat. Raekwon,
Slave,
Marvin Gaye,
Matthew Halsall,
The Grass Roots,
Rahsaan Roland Kirk,
Throbbing Gristle,
The Searchers,
Stockholm Monsters,
Roxy Music,
The Busters,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.