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 Germany and from Johannesburg.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Bremen and Manchester.
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 1973 at the first Television practice in a loft in New York.
I was working on the snare 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 Goldenarms to the jazz kids.
I played it at the Crocodile.
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 Nik Kershaw. All the underground hits.
All Basic Channel tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Eric Dolphy record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Jeru the Damaja,
Charles Mingus,
Girls At Our Best!,
The Peanut Butter Conspiracy,
U.S. Maple,
48th St. Collective,
Motorama,
Jandek,
Public Image Ltd.,
John Cale,
Q65,
Alton Ellis,
Davy DMX,
Absolute Body Control,
Chris Corsano,
Hot Snakes,
Manfred Mann's Earth Band,
Deutsch Amerikanische Freundschaft,
Eric Dolphy,
ABC,
This Heat,
Pagans,
Bill Near,
The Cure,
Procol Harum,
Fort Wilson Riot,
The Beau Brummels,
Loose Ends,
The Fire Engines,
Erasure,
James Chance & The Contortions,
LL Cool J,
Chris & Cosey,
Bobby Womack,
Kas Product,
Marshall Jefferson,
Delon & Dalcan,
Lindisfarne,
Graham Central Station,
Nik Kershaw,
New Age Steppers,
Crispian St. Peters,
The Fall,
Kool Moe Dee,
Jacob Miller,
The Fugs,
Jawbox,
Y Pants,
Roy Ayers Ubiquity,
Soul II Soul,
Deadbeat,
Guru Guru,
Arthur Verocai,
Rowland S Howard / Lydia Lunch,
The Skatalites,
Dead Boys,
Con Funk Shun,
a-ha,
Junior Murvin,
Wire,
Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five.
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.