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 Guyana and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Portland and Lyon.
I'm losing my edge to the art-school Toronto 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 Notorious Big And Bone Thugs to the electroclash kids.
I played it at the Astoria.
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 The Cramps. All the underground hits.
All The Selecter tracks. I heard you have a vinyl of every Hot Snakes 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 '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Jay Z And Juelz record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
Spoonie Gee,
Guru Guru,
John Holt,
Shuggie Otis,
E-Dancer,
Carl Craig,
Pagans,
The Kinks,
Essential Logic,
Godley & Creme,
Lou Reed & John Cale,
48th St. Collective,
Pharoah Sanders,
Supertramp,
Funky Four + One,
B.T. Express,
Whodini,
Scrapy,
Bobby Womack,
Danielle Patucci,
World's Most,
Half Japanese,
Unrelated Segments,
Glambeats Corp.,
The Residents,
JFA,
Byron Stingily,
Yusef Lateef,
Banda Bassotti,
Deepchord,
Richard Hell and the Voidoids,
The Jesus and Mary Chain,
Au Pairs,
Brick,
Sugar Minott,
Country Teasers,
Glenn Branca,
Procol Harum,
Pole,
Avey Tare's Slasher Flicks,
Janne Schatter,
Vaughan Mason & Crew,
Bootsy Collins,
Avey Tare & Kría Brekkan,
Radio Birdman,
Bad Manners,
James Chance & The Contortions,
One Last Wish,
Johnny Clarke,
Minnie Riperton,
Super Lover Cee & Casanova Rud,
Infiniti,
The Real Kids,
Major Organ And The Adding Machine,
Lebanon Hanover,
Faraquet,
Sarah Menescal,
New York Dolls,
Morten Harket,
The American Breed, The American Breed, The American Breed, The American Breed.
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.