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 Zambia and from London.
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 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Edmonton.
I'm losing my edge to the art-school Philadelphia 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 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 Blossom Toes to the funk kids.
I played it at Cafe Wha.
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 Stereo Dub. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Sugar Minott record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
The New Christs,
The Detroit Cobras,
Howard Jones,
Vaughan Mason & Crew,
Porter Ricks,
The Alarm Clocks,
Blancmange,
The Busters,
Ajijia Myrayebe,
John Lydon,
The Golliwogs,
Bill Wells,
Basic Channel,
The Pop Group,
R.M.O.,
Moby Grape,
Danielle Patucci,
Sly & The Family Stone,
Cameo,
Chrome,
The Fuzztones,
Gary Puckett & The Union Gap,
A Flock of Seagulls,
The Music Machine,
New Order,
Swell Maps,
Amon Düül II,
Skaos,
The Mummies,
Lightning Bolt,
Q and Not U,
Zapp,
The Gladiators,
Schoolly D,
Soul II Soul,
Fluxion,
Pole,
Yellowson,
Malaria!,
Idris Muhammad,
Camouflage,
Flipper,
Bad Manners,
Nation of Ulysses,
DeepChord presents Echospace,
Can,
Hoover,
Derrick May,
Echo & the Bunnymen,
Swans,
Joy Division,
The Slackers,
Bobby Hutcherson,
Franke,
Banda Bassotti,
Cal Tjader,
Zero Boys,
The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers, The Cosmic Jokers.
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.