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 United Kingdom and from Bremen.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Accra.
I'm losing my edge to the art-school Philadelphia 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 mellotron 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 10cc to the dance kids.
I played it at Trash.
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 Art Ensemble Of Chicago. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every Kool Moe Dee record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Gap Band record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
LL Cool J,
Rowland S Howard / Lydia Lunch,
Iggy Pop,
Letta Mbulu,
Hardrive,
Can,
Cluster,
Isaac Hayes,
Ohio Players,
Joe Finger,
Echospace,
The Royal Family And The Poor,
Bobby Hutcherson,
The Grass Roots,
This Heat,
Deutsch Amerikanische Freundschaft,
Kango’s Stein Massive,
Alice Coltrane,
The Names,
Flamin' Groovies,
Ken Boothe,
JFA,
Kayak,
Soft Machine,
Arab on Radar,
Yusef Lateef,
Deepchord,
Absolute Body Control,
Pole,
Public Image Ltd.,
Bootsy's Rubber Band,
Technova,
Sarah Menescal,
Mad Mike,
David Bowie,
Kurtis Blow,
Sällskapet,
The Raincoats,
L. Decosne,
Depeche Mode,
Neil Young & Crazy Horse,
Janne Schatter,
Sly & The Family Stone,
Minnie Riperton,
the Swans,
the Normal,
Gang Gang Dance,
Todd Terry,
The Fuzztones,
Dual Sessions,
Darondo,
John Lydon,
Vladislav Delay,
The Leaves,
La Düsseldorf,
Skarface,
Ludus,
Kool G Rap & DJ Polo,
In Retrospect,
Kaleidoscope,
John Holt,
Ituana, Ituana, Ituana, Ituana.
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.