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 Israel and from Salvador.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Bologna and Woodstock.
I'm losing my edge to the art-school Johannesburg 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the rhodes sounds with much patience.
I was there when Donald Fagen 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 Ten City to the techno kids.
I played it at the Hacienda.
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 Nation of Ulysses. All the underground hits.
All Buzzcocks tracks. I heard you have a vinyl of every D'Angelo 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 rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scrapy,
Bootsy's Rubber Band,
The Techniques,
Traffic Nightmare,
Spoonie Gee,
Barry Ungar,
Maleditus Sound,
Erasure,
Darondo,
Michelle Simonal,
Leonard Cohen,
Absolute Body Control,
AZ,
Bobby Sherman,
Depeche Mode,
Soul II Soul,
Cabaret Voltaire,
Stetsasonic,
Girls At Our Best!,
U.S. Maple,
Barbara Tucker,
Notorious Big And Bone Thugs,
the Bar-Kays,
the Fania All-Stars,
JFA,
Q65,
Lebanon Hanover,
Black Moon,
Adolescents,
Angry Samoans,
Skriet,
Alton Ellis,
ABBA,
The Knickerbockers,
Whodini,
Yazoo,
Lou Reed & John Cale,
Cecil Taylor,
Nick Cave & The Bad Seeds,
Althea and Donna,
The Slits,
Surgeon,
Kevin Saunderson,
Monolake,
Ornette Coleman,
Icehouse,
Ultimate Spinach,
Bang on a Can All-Stars,
Joyce Sims,
Throbbing Gristle,
Warren Ellis,
Cymande,
L. Decosne,
Ash Ra Tempel,
Amazonics,
Liliput,
The Grass Roots,
Underground Resistance,
Fifty Foot Hose,
Dead Boys,
Lalo Schifrin,
The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds.
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.