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 Portugal and from Bologna.
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 1965 to 1977.
I'm losing my edge.
To all the kids in New York and Bremen.
I'm losing my edge to the art-school Sao Paulo 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the oboe sounds with much patience.
I was there when Nile Rodgers 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 Zero Boys to the dance kids.
I played it at the Hacienda.
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 Deakin. All the underground hits.
All Gary Puckett & The Union Gap tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal techno 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 a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rotary Connection,
Sunsets and Hearts,
Organ,
Cecil Taylor,
Pet Shop Boys,
Soul Sonic Force,
Cymande,
Art Ensemble Of Chicago,
The Smoke,
Flash Fearless,
World's Most,
Bauhaus,
The Shadows of Knight,
Von Mondo,
Siglo XX,
Ralphi Rosario,
Teenage Jesus and the Jerks,
The Fortunes,
Tim Buckley,
Lizzy Mercier Descloux,
48th St. Collective,
Boredoms,
Ultravox,
The Mighty Diamonds,
The Sound,
Yusef Lateef,
10cc,
Tom Boy,
Monks,
U.S. Maple,
Banda Bassotti,
The Sisters of Mercy,
Harmonia,
Sex Pistols,
Kango’s Stein Massive,
Nirvana,
Lebanon Hanover,
Jeru the Damaja,
T.S.O.L.,
Vaughan Mason & Crew,
Scratch Acid,
Hashim,
Nik Kershaw,
Fluxion,
The Pretty Things,
cv313,
Amon Düül,
Matthew Bourne,
Notorious Big And Bone Thugs,
Barrington Levy,
Hot Snakes,
Lakeside,
Beasts of Bourbon,
Max Romeo,
A Flock of Seagulls,
The Gories,
Steve Hackett,
Delon & Dalcan,
Johnny Clarke,
Deakin, Deakin, Deakin, Deakin.
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.