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 Brunei and from Woodstock.
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 Woodstock and Manchester.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the sitar sounds with much patience.
I was there when Nile Rodgers 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 Arab on Radar to the grime kids.
I played it at the Hacienda.
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 Japan. All the underground hits.
All Donny Hathaway tracks. I heard you have a vinyl of every Marmalade record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Sparks record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
Fugazi,
Anthony Braxton,
Mr. Review,
Ossler,
Bizarre Inc.,
Sun City Girls,
The Tremeloes,
The Offenders,
Grandmaster Flash and the Furious Five,
Sly & The Family Stone,
the Bar-Kays,
New York Dolls,
Warsaw,
D'Angelo,
FM Einheit,
Grandmaster Flash,
Ultravox,
The Sonics,
Guru Guru,
Jeff Mills,
Schoolly D,
Maurizio,
Moebius,
Ohio Players,
Beasts of Bourbon,
Quando Quango,
Ludus,
The Flesh Eaters,
Severed Heads,
Buzzcocks,
Sad Lovers and Giants,
Eve St. Jones,
The Neon Judgement,
Johnny Clarke,
Rites of Spring,
Supertramp,
Basic Channel,
Erykah Badu,
Can,
Excepter,
Richard Hell and the Voidoids,
Sexual Harrassment,
LL Cool J,
Godley & Creme,
Eddi Front,
Liliput,
Peter and Kerry,
Fort Wilson Riot,
Lower 48,
Q65,
The Modern Lovers,
Kool G Rap & DJ Polo,
Hardrive,
The Mighty Diamonds,
The Pretty Things,
Alice Coltrane,
Scientists,
Dorothy Ashby,
Kas Product,
Flipper,
Tom Boy,
Bill Near,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.