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 Dominican Republic and from Manila.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Mexico City and Houston.
I'm losing my edge to the art-school Stockholm 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 Art of Noise practice in a loft in London.
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 Steve Hackett to the funk kids.
I played it at the Roxy.
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 Sun Ra. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every Letta Mbulu 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 '60s cut and another box set from the '70s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a X-Ray Spex record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacques Brel,
Absolute Body Control,
Sarah Menescal,
The Fortunes,
The Fire Engines,
Sun City Girls,
The Music Machine,
Janne Schatter,
Crispy Ambulance,
Groovy Waters,
Lee Hazlewood,
Supertramp,
Metal Thangz,
Blancmange,
Intrusion,
The Human League,
Gian Franco Pienzio,
Boz Scaggs,
Stereo Dub,
the Sonics,
Depeche Mode,
Kurtis Blow,
Goldenarms,
Cymande,
Morten Harket,
Aaron Thompson,
Dorothy Ashby,
Kool G Rap & DJ Polo,
Fad Gadget,
Sparks,
Interpol,
Captain Beefheart & His Magic Band,
Super Lover Cee & Casanova Rud,
Jerry's Kids,
Q and Not U,
Aural Exciters,
Dark Day,
Black Moon,
Mantronix,
Marc Almond,
The Dave Clark Five,
FM Einheit,
Magazine,
Dead Boys,
the Association,
Rod Modell,
Cal Tjader,
James Chance & The Contortions,
T. Rex,
Fifty Foot Hose,
Peter and Kerry,
Yusef Lateef,
Dual Sessions,
Godley & Creme,
Model 500,
Skarface,
Camron Feat. Memphis Bleek And Beenie Seigel,
The United States of America,
Blake Baxter,
R.M.O.,
Deutsch Amerikanische Freundschaft,
Vainqueur,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.