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 Uzbekistan 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 1966 to 1974.
I'm losing my edge.
To all the kids in Halifax and New York.
I'm losing my edge to the art-school Mexico City 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 The Trojans to the funk 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 Qualms. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every a-ha record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Swans,
The Black Dice,
the Fania All-Stars,
Heaven 17,
Au Pairs,
Matthew Halsall,
JFA,
Hot Snakes,
A Flock of Seagulls,
Sarah Menescal,
Eyeless In Gaza,
Blancmange,
Erasure,
Rakim,
Accadde A,
Tim Buckley,
Little Man,
Pete Rock & C.L. Smooth,
Lalo Schifrin,
Don Cherry,
Gregory Isaacs,
Johnny Clarke,
Inner City,
MC5,
Rhythm & Sound,
Soulsonic Force,
Skarface,
Marcia Griffiths,
Mantronix,
Bootsy Collins,
Scan 7,
Yellowson,
Warsaw,
Michelle Simonal,
X-101,
The Pretty Things,
Erykah Badu,
Quadrant,
Index,
New Age Steppers,
Los Fastidios,
James White and The Blacks,
Morten Harket,
The Zeros,
Matthew Bourne,
Kings Of Tomorrow,
Soul II Soul,
Chris Corsano,
Negative Approach,
Arthur Verocai,
Joyce Sims,
the Slits,
Thinking Fellers Union Local 282,
Bootsy's Rubber Band,
Gichy Dan,
The Barracudas,
Roy Ayers Ubiquity,
Trumans Water,
Lightning Bolt,
Derrick May,
Derrick Morgan,
Be Bop Deluxe,
Brass Construction,
The Sound, The Sound, The Sound, The Sound.
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.