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 Australia and from Paris.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Seoul and Copenhagen.
I'm losing my edge to the art-school Seoul 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 Ohio Players to the grunge 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 Swans. All the underground hits.
All Heavy D & The Boyz tracks. I heard you have a vinyl of every Rhythm & Sound 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 spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your guitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Babytalk,
Icehouse,
Stetsasonic,
Lizzy Mercier Descloux,
Darondo,
Chrome,
The Wake,
Jeru the Damaja,
Brick,
Jeff Mills,
Massinfluence,
Make Up,
Organ,
Bobby Byrd,
L. Decosne,
It's A Beautiful Day,
H. Thieme,
This Heat,
Gong,
Oneida,
June of 44,
The Star Department,
Echo & the Bunnymen,
The Jesus and Mary Chain,
The American Breed,
The Fortunes,
Ossler,
Lightning Bolt,
Throbbing Gristle,
Television,
Pulsallama,
Quadrant,
Bobby Womack,
Henry Cow,
The Cramps,
Yazoo,
Mr. Review,
Bob Dylan,
Captain Beefheart & His Magic Band,
The Red Krayola,
MDC,
Radio Birdman,
Average White Band,
The Smoke,
Sly & The Family Stone,
PIL,
The Human League,
Nick Fraelich,
a-ha,
Schoolly D,
The Five Americans,
Idris Muhammad,
Gary Puckett & The Union Gap,
The Move,
Max Romeo,
Charles Mingus,
Moebius,
Joe Smooth,
Q and Not U,
Marine Girls,
Barry Ungar,
Amazonics, Amazonics, Amazonics, Amazonics.
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.