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 Congo and from Beijing.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Madrid.
I'm losing my edge to the art-school Edmonton 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 güiro sounds with much patience.
I was there when Michael McDonald 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 D'Angelo to the dance kids.
I played it at Cafe Wha.
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 Strawberry Alarm Clock. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Minor Threat record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
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 Avey Tare record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fugazi,
Pere Ubu,
Delon & Dalcan,
Lizzy Mercier Descloux,
Lebanon Hanover,
Terrestrial Tones,
Judy Mowatt,
The Doors,
Sound Behaviour,
Echo & the Bunnymen,
Johnny Osbourne,
Ken Boothe,
Soft Cell,
Soul II Soul,
Ultravox,
Swans,
Minor Threat,
Echospace,
Livin' Joy,
Iggy Pop,
Underground Resistance,
Brick,
Black Sheep,
Television Personalities,
Qualms,
Lower 48,
One Last Wish,
Anakelly,
The Music Machine,
The Searchers,
Al Stewart,
Eric B and Rakim,
John Cale,
Sonic Youth,
The Misunderstood,
Vaughan Mason & Crew,
China Crisis,
Lyres,
Alphaville,
Kool Moe Dee,
Pulsallama,
Parry Music,
Minny Pops,
Bang on a Can All-Stars,
Larry & the Blue Notes,
Thee Headcoats,
Tom Boy,
Robert Wyatt,
Excepter,
Rekid,
Strawberry Alarm Clock,
Pussy Galore,
London Community Gospel Choir,
Suburban Knight,
The Knickerbockers,
Subhumans,
Morten Harket,
Sex Pistols,
Popol Vuh,
DJ Style,
Delta 5,
Lee Hazlewood,
Brass Construction,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.