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 Sri Lanka and from Milan.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1979.
I'm losing my edge.
To all the kids in Shanghai and Seoul.
I'm losing my edge to the art-school Manchester 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 The Invisible to the dance kids.
I played it at Trash.
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 Delon & Dalcan. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Isaac Hayes record on German import.
I heard that you have a white label of every seminal punk 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 sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Art Ensemble Of Chicago record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
Kauko Röyhkä ja Narttu,
Avey Tare & Kría Brekkan,
Pagans,
The Happenings,
Motorama,
Nico,
Lizzy Mercier Descloux,
Kurtis Blow,
Rites of Spring,
Adolescents,
Icehouse,
Man Eating Sloth,
James Chance & The Contortions,
Minny Pops,
The Offenders,
Livin' Joy,
Sly & The Family Stone,
Rotary Connection,
The Doobie Brothers,
T.S.O.L.,
The Modern Lovers,
London Community Gospel Choir,
Tears for Fears,
Ponytail,
Don Cherry,
Jeff Mills,
Black Flag,
Al Stewart,
The Gories,
The Busters,
Andrew Ashong & Theo Parrish,
Agitation Free,
Ten City,
Orchestral Manoeuvres in the Dark,
Cheater Slicks,
Warsaw,
Half Japanese,
The J.B.'s,
Sällskapet,
Bootsy's Rubber Band,
Metal Thangz,
Ultramagnetic MC's,
Outsiders,
Sound Behaviour,
Siouxsie and the Banshees,
Tubeway Army,
Amazonics,
The Dirtbombs,
John Coltrane,
Brick,
Lungfish,
Prince Buster,
The Names,
Tommy Roe,
Lucky Dragons,
Quadrant,
Pete Rock & C.L. Smooth,
Scrapy,
Pantytec,
FM Einheit,
Johnny Osbourne,
Lower 48,
Ornette Coleman, Ornette Coleman, Ornette Coleman, Ornette Coleman.
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.