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 Equatorial Guinea and from Beijing.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Lille and Lille.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the arpeggiator sounds with much patience.
I was there when David Bowie 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 Simply Red to the rap kids.
I played it at the Spitz.
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 Aural Exciters. All the underground hits.
All Frankie Knuckles tracks. I heard you have a vinyl of every Gregory Isaacs 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 '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hasil Adkins,
the Normal,
Metal Thangz,
Ossler,
Infiniti,
Albert Ayler,
Thompson Twins,
Easy Going,
Zero Boys,
Kings Of Tomorrow,
Panda Bear,
Hashim,
Girls At Our Best!,
Kurtis Blow,
Donny Hathaway,
Swans,
The Mojo Men,
Kas Product,
Von Mondo,
Jeru the Damaja,
Lebanon Hanover,
The Jesus and Mary Chain,
Connie Case,
Saccharine Trust,
The Dead C,
Jerry's Kids,
Judy Mowatt,
Bauhaus,
The Fugs,
Eli Mardock,
Man Eating Sloth,
The Cure,
Kool Moe Dee,
Skaos,
The Gap Band,
Electric Light Orchestra,
Y Pants,
Alison Limerick,
The Searchers,
June of 44,
Junior Murvin,
The J.B.'s,
The Young Rascals,
Schoolly D,
Animal Collective,
Hardrive,
The Five Americans,
48th St. Collective,
Newcleus,
Jeff Mills,
Bobby Byrd,
Lonnie Liston Smith,
Moebius,
Sarah Menescal,
Sister Nancy,
Joensuu 1685,
The American Breed,
Roxette,
Rowland S Howard / Lydia Lunch,
Robert Hood,
The Associates,
Monks,
Brass Construction,
Flipper, Flipper, Flipper, Flipper.
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.