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 Greece and from Seoul.
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 1973.
I'm losing my edge.
To all the kids in Cairo and Shanghai.
I'm losing my edge to the art-school Bologna 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Ultimate Spinach to the funk kids.
I played it at CBGB's.
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 The Moleskins. All the underground hits.
All Swans tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lakeside,
Joey Negro,
A Certain Ratio,
Rufus Thomas,
Rotary Connection,
H. Thieme,
Fatback Band,
Pylon,
Minny Pops,
Ossler,
Ajijia Myrayebe,
Newcleus,
The Blues Magoos,
KRS-One,
Dark Day,
Davy DMX,
Hoover,
Wolf Eyes,
Panda Bear,
Matthew Bourne,
E-Dancer,
Charles Mingus,
Lindisfarne,
Royal Trux,
The Star Department,
Can,
Ohio Players,
Soft Cell,
Cal Tjader,
Monks,
Severed Heads,
Crime,
Siglo XX,
Laurel Aitken,
Sound Behaviour,
The Chocolate Watch Band,
Ultra Naté,
The Moody Blues,
Jerry Gold Smith,
Masters at Work,
Rod Modell,
Negative Approach,
The Count Five,
Lalann,
Notorious Big And Bone Thugs,
Max Romeo,
Aaron Thompson,
Jeff Lynne,
Supertramp,
Parry Music,
Brick,
Kauko Röyhkä ja Narttu,
Dave Gahan,
Kings Of Tomorrow,
Funkadelic,
Ronnie Foster,
Public Enemy,
Gil Scott-Heron and Jamie xx,
Skriet,
It's A Beautiful Day,
Scrapy,
Ituana,
Faust,
Ten City, Ten City, Ten City, Ten City.
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.