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 Namibia and from Calgary.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Bremen and Salvador.
I'm losing my edge to the art-school Beijing 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the theremin 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 The Chocolate Watch Band to the rock kids.
I played it at the Roxy.
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 Tom Boy. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every The Techniques 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 harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Cowsills record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
Desert Stars,
Chris Corsano,
Chrome,
AZ,
June Days,
Joensuu 1685,
Kerrie Biddell,
Eli Mardock,
Urselle,
Arcadia,
The Detroit Cobras,
London Community Gospel Choir,
Art Ensemble Of Chicago,
Susan Cadogan,
The Names,
Y Pants,
Bad Manners,
Grauzone,
The Moleskins,
Scrapy,
Cecil Taylor,
Swell Maps,
Unrelated Segments,
Goldenarms,
Ludus,
The Red Krayola,
Magazine,
The Pop Group,
The Mojo Men,
Crime,
Rhythm & Sound,
Pharaoh Sanders and the Fire Engines,
Technova,
KRS-One,
Todd Rundgren,
Pete Rock & C.L. Smooth,
It's A Beautiful Day,
Avey Tare,
The Saints,
Gichy Dan,
Cluster,
Kauko Röyhkä ja Narttu,
Crash Course in Science,
Surgeon,
Tropical Tobacco,
Gang Starr,
Teenage Jesus and the Jerks,
The Gladiators,
Orchestral Manoeuvres in the Dark,
Camouflage,
Icehouse,
Wolf Eyes,
Crooked Eye,
The Last Poets,
Kurtis Blow,
Niagra,
James White and The Blacks,
Pussy Galore,
The Move,
The Remains,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.