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 Mali and from Winnipeg.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Manchester and Taipei.
I'm losing my edge to the art-school Sao Paulo 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 harpsichord 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 Roxy Music to the dance kids.
I played it at the Crocodile.
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 Prince Buster. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every The 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ohio Players record.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
Larry & the Blue Notes,
Underground Resistance,
Andrew Ashong & Theo Parrish,
Gil Scott Heron,
The Barracudas,
Be Bop Deluxe,
Robert Hood,
Connie Case,
Marc Romboy vs. Booka Shade,
Derrick May,
The Dead C,
8 Eyed Spy,
The Gap Band,
Average White Band,
Porter Ricks,
FM Einheit,
The Star Department,
ABC,
L. Decosne,
Oneida,
This Heat,
Black Sheep,
The Gun Club,
The Slits,
Lafayette Afro Rock Band,
Tears for Fears,
Barrington Levy,
Mo-Dettes,
Maurizio,
The Trojans,
Electric Prunes,
Man Eating Sloth,
The Saints,
Sun Ra Arkestra,
Pole,
Sister Nancy,
Eddi Front,
Cabaret Voltaire,
Dawn Penn,
The Searchers,
The Kinks,
Peter & Gordon,
Bootsy's Rubber Band,
The Golliwogs,
Sugar Minott,
Simply Red,
La Düsseldorf,
Drive Like Jehu,
Q and Not U,
Scott Walker,
Television Personalities,
Eden Ahbez,
Boogie Down Productions,
Skaos,
Black Moon,
Jerry's Kids,
Siouxsie and the Banshees,
Bluetip,
Whodini,
Art Ensemble Of Chicago,
The Grass Roots,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.