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 Tuvalu and from Bremen.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Madrid and Lyon.
I'm losing my edge to the art-school Paris 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 organ 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 Make Up to the dance 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 Prince Buster. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every Kings Of Tomorrow 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Lebanon Hanover record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suicide,
Tears for Fears,
Yellowson,
a-ha,
Matthew Bourne,
Lungfish,
Terry Callier,
Alphaville,
Rosa Yemen,
Kool G Rap & DJ Polo,
Goldenarms,
Thompson Twins,
Interpol,
Bootsy's Rubber Band,
Eddi Front,
Stetsasonic,
Tim Buckley,
Absolute Body Control,
Faust,
Audionom,
Nik Kershaw,
Derrick May,
Scratch Acid,
Hasil Adkins,
Jacques Brel,
Morten Harket,
Sister Nancy,
Hoover,
Stiv Bators,
Jacob Miller,
Neil Young,
The Count Five,
Model 500,
Flash Fearless,
Pete Rock & C.L. Smooth,
Black Sheep,
World's Most,
Ornette Coleman,
June of 44,
Gil Scott-Heron & Brian Jackson,
Röyhkä ja Rättö ja Lehtisalo,
Ponytail,
Pantaleimon,
Newcleus,
Shoche,
Darondo,
Bobby Hutcherson,
Accadde A,
Colin Newman,
Cabaret Voltaire,
Massinfluence,
The Real Kids,
Inner City,
The Durutti Column,
Scientists,
Blossom Toes,
The Electric Prunes,
AZ,
The Blues Magoos,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.