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 the UAE and from Beijing.
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 1970.
I'm losing my edge.
To all the kids in Milan and Cairo.
I'm losing my edge to the art-school London 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the mellotron 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 Kango’s Stein Massive to the disco kids.
I played it at the Astoria.
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 Masters at Work. All the underground hits.
All Fad Gadget tracks. I heard you have a vinyl of every The Dirtbombs record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Piero Umiliani record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vladislav Delay,
the Normal,
The Kinks,
Wire,
Pierre Henry,
Beasts of Bourbon,
Grandmaster Flash and the Furious Five,
Hoover,
Sight & Sound,
Sun City Girls,
Pete Rock & C.L. Smooth,
Jeru the Damaja,
Cymande,
The Blues Magoos,
Derrick Morgan,
Amazonics,
Skarface,
Sex Pistols,
June Days,
Kenny Larkin,
Parry Music,
James Chance & The Contortions,
Ten City,
Roxette,
Magma,
Lightning Bolt,
The Sisters of Mercy,
Strawberry Alarm Clock,
Curtis Mayfield,
Pantytec,
the Human League,
Danielle Patucci,
The Sonics,
The Smoke,
Charles Mingus,
Siouxsie and the Banshees,
The Seeds,
Piero Umiliani,
Sandy B,
The Barracudas,
Minnie Riperton,
The Neon Judgement,
In Retrospect,
The Chocolate Watch Band,
Pylon,
The Music Machine,
Mo-Dettes,
Eric B and Rakim,
Rapeman,
Bootsy Collins,
UT,
Soul Sonic Force,
Eric Copeland,
Gregory Isaacs,
Gary Puckett & The Union Gap,
The Knickerbockers,
The Dead C,
Junior Murvin,
Morten Harket,
Justin Hinds & The Dominoes,
Isaac Hayes, Isaac Hayes, Isaac Hayes, Isaac Hayes.
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.