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 Burundi and from New York.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Lille and Woodstock.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator 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 Rapeman to the crunk kids.
I played it at the Spitz.
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 Lafayette Afro Rock Band. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every The Grass Roots record on German import.
I heard that you have a white label of every seminal funk 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 harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Panda Bear,
Soft Machine,
Grandmaster Flash and the Furious Five,
Kas Product,
Peter and Kerry,
Justin Hinds & The Dominoes,
Symarip,
Kenny Larkin,
The Searchers,
Boogie Down Productions,
Whodini,
The Motions,
Deutsch Amerikanische Freundschaft,
Lightning Bolt,
Minutemen,
Camberwell Now,
Au Pairs,
Nils Olav,
Marine Girls,
Sex Pistols,
John Lydon,
Visage,
Easy Going,
The Walker Brothers,
Pet Shop Boys,
Dr. Dre and Snoop Doggy Dog,
Eli Mardock,
Hoover,
Super Lover Cee & Casanova Rud,
Country Teasers,
Eric Dolphy,
Jesper Dahlbäck,
Neil Young & Crazy Horse,
Kings Of Tomorrow,
Gastr Del Sol,
The Doobie Brothers,
The Shadows of Knight,
Jacques Brel,
Crooked Eye,
Silicon Teens,
Unrelated Segments,
Kayak,
Robert Görl,
The Dead C,
The Monochrome Set,
Gabor Szabo,
Strawberry Alarm Clock,
Flamin' Groovies,
Roy Ayers Ubiquity,
Bobby Hutcherson,
The Stooges,
Albert Ayler,
Tomorrow,
Bobby Sherman,
Blancmange,
Drive Like Jehu,
Juan Atkins,
Fort Wilson Riot,
Gil Scott-Heron and Jamie xx,
Gerry Rafferty,
Tom Boy, Tom Boy, Tom Boy, Tom Boy.
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.