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 Dominican Republic and from Portland.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Calgary and Salvador.
I'm losing my edge to the art-school Beijing 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 1984 at the first Arcadia practice in a loft in London.
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 The Cowsills to the disco kids.
I played it at the 40 Watt.
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 10cc. All the underground hits.
All The J.B.'s tracks. I heard you have a vinyl of every the Swans record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Todd Terry record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
Thee Headcoats,
Manfred Mann's Earth Band,
Eurythmics,
a-ha,
The West Coast Pop Art Experimental Band,
The Sonics,
Matthew Halsall,
Mandrill,
Freddie Wadling,
Eyeless In Gaza,
Morten Harket,
Pere Ubu,
Fluxion,
Moss Icon,
Lou Reed,
Marine Girls,
Piero Umiliani,
The Invisible,
Avey Tare & Kría Brekkan,
Pete Rock & C.L. Smooth,
Hashim,
Bill Near,
Ultramagnetic MC's,
Blake Baxter,
Red Lorry Yellow Lorry,
London Community Gospel Choir,
Half Japanese,
The Count Five,
Fat Boys,
Unwound,
Newcleus,
Lalo Schifrin,
Scion,
Oneida,
Lebanon Hanover,
David McCallum,
Negative Approach,
Neil Young & Crazy Horse,
David Axelrod,
Johnny Osbourne,
Maurizio,
Siglo XX,
Amazonics,
the Association,
Hoover,
Franke,
Röyhkä ja Rättö ja Lehtisalo,
The Dirtbombs,
Jeru the Damaja,
Man Eating Sloth,
Wighnomy Brothers & Robag Wruhme,
Notorious BIG live in Amsterdam,
Neil Young,
Prince Buster,
Suicide,
The Slackers,
Tubeway Army,
Joey Negro,
Arab on Radar,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.