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 Turkey and from Mexico City.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Lyon and Portland.
I'm losing my edge to the art-school Houston 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 guitar 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 Minnie Riperton to the disco kids.
I played it at the Roxy.
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 Make Up. All the underground hits.
All Eli Mardock tracks. I heard you have a vinyl of every The Busters record on German import.
I heard that you have a white label of every seminal grime 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 an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your sitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric Dolphy,
The Gladiators,
June Days,
Roxette,
Grauzone,
A Certain Ratio,
Make Up,
Skaos,
The Residents,
Minor Threat,
Connie Case,
The Martian,
Liaisons Dangereuses,
The Saints,
the Slits,
Radio Birdman,
Television,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Red Lorry Yellow Lorry,
Loose Ends,
Fugazi,
Con Funk Shun,
Matthew Bourne,
Harmonia,
The Dirtbombs,
The Monochrome Set,
Monks,
Quadrant,
The Associates,
Aural Exciters,
The Zeros,
Albert Ayler,
Ken Boothe,
the Human League,
Porter Ricks,
Scrapy,
The Detroit Cobras,
Andrew Hill,
Funky Four + One,
The Last Poets,
Ultramagnetic MC's,
Kurtis Blow,
Barclay James Harvest,
Bobby Sherman,
David McCallum,
The Cosmic Jokers,
Robert Hood,
Main Source,
JFA,
Ohio Players,
The Shadows of Knight,
Whodini,
Pulsallama,
The Angels of Light,
Liliput,
the Normal,
K-Klass,
The Real Kids,
Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux, Lizzy Mercier Descloux.
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.