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 Slovakia and from Madrid.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Madrid and Philadelphia.
I'm losing my edge to the art-school Salvador 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Lou Christie to the rock kids.
I played it at the Crocodile.
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 The Durutti Column. All the underground hits.
All It's A Beautiful Day tracks. I heard you have a vinyl of every Johnny Clarke record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Colin Newman,
Sly & The Family Stone,
Gong,
Black Pus,
Danielle Patucci,
Royal Trux,
Jeru the Damaja,
Strawberry Alarm Clock,
The Smiths,
cv313,
Graham Central Station,
Vainqueur,
Sonny Sharrock,
The Vogues,
Jacob Miller,
Ohio Players,
Fugazi,
Nick Fraelich,
Funky Four + One,
The Moody Blues,
Amon Düül II,
Rapeman,
Jacques Brel,
The Seeds,
La Düsseldorf,
the Fania All-Stars,
Das Ding,
Pulsallama,
Marc Almond,
Echospace,
The Golliwogs,
Ultra Naté,
Reagan Youth,
Clear Light,
Sight & Sound,
Bad Manners,
Goldenarms,
It's A Beautiful Day,
Leonard Cohen,
Lebanon Hanover,
Gil Scott Heron,
Albert Ayler,
Robert Hood,
Lou Christie,
10cc,
Wally Richardson,
Gian Franco Pienzio,
Eric Dolphy,
The Doobie Brothers,
Connie Case,
Charles Mingus,
Cluster,
Inner City,
Lizzy Mercier Descloux,
Alice Coltrane,
Idris Muhammad,
Q and Not U,
Infiniti,
Skaos,
Crooked Eye,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.