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 Bhutan and from Taipei.
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 1976.
I'm losing my edge.
To all the kids in Manila and Spokane.
I'm losing my edge to the art-school Portland 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 linndrum 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 Laurel Aitken to the jazz kids.
I played it at the 40 Watt.
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 LL Cool J. All the underground hits.
All Marmalade tracks. I heard you have a vinyl of every Strawberry Alarm Clock record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
June Days,
Gil Scott Heron,
The Real Kids,
Kool Moe Dee,
The Men They Couldn't Hang,
Scott Walker,
Groovy Waters,
Theoretical Girls,
Derrick May,
Juan Atkins,
Flipper,
Bauhaus,
Boz Scaggs,
Grey Daturas,
The Zeros,
Model 500,
Jeff Lynne,
Liliput,
Alphaville,
Gian Franco Pienzio,
Mission of Burma,
The Seeds,
Skarface,
Brick,
Accadde A,
The Index,
Visionaries,LMNO, T- Love & Iriscience,
Radiohead,
Captain Beefheart & His Magic Band,
R.M.O.,
China Crisis,
Gary Puckett & The Union Gap,
Basic Channel,
Moss Icon,
Drexciya,
Dorothy Ashby,
Marmalade,
Big Daddy Kane,
Rod Modell,
Brand Nubian,
Cecil Taylor,
Pantytec,
Bluetip,
Ossler,
Connie Case,
The Jesus and Mary Chain,
Curtis Mayfield,
Fad Gadget,
Saccharine Trust,
The Selecter,
The Move,
Massinfluence,
Yaz,
Boredoms,
Supertramp,
Albert Ayler,
Black Sheep,
Moebius,
Make Up,
Lucky Dragons,
The Doors, The Doors, The Doors, The Doors.
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.