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 Bahrain and from Mumbai.
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 1971.
I'm losing my edge.
To all the kids in Toronto and London.
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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the synthesizer 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 Hoover to the jazz kids.
I played it at the Troubador.
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 Marine Girls. All the underground hits.
All Infiniti tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Rundgren,
Marshall Jefferson,
Joe Smooth,
Eurythmics,
Bootsy's Rubber Band,
Art Ensemble Of Chicago,
Groovy Waters,
LL Cool J,
The Star Department,
Ludus,
Jacob Miller,
Gregory Isaacs,
Mary Jane Girls,
It's A Beautiful Day,
Barrington Levy,
Thinking Fellers Union Local 282,
Röyhkä ja Rättö ja Lehtisalo,
Harmonia,
Isaac Hayes,
Roy Ayers Ubiquity,
Young Marble Giants,
Das Ding,
Colin Newman,
Stockholm Monsters,
Terror Squad Feat. Camron,
Banda Bassotti,
The Misunderstood,
The Gap Band,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Organ,
Jandek,
Los Fastidios,
Camron Feat. Memphis Bleek And Beenie Seigel,
Erasure,
Drive Like Jehu,
Youth Brigade,
Neil Young & Crazy Horse,
Pete Rock & C.L. Smooth,
John Holt,
Fort Wilson Riot,
Bluetip,
The Fortunes,
Gabor Szabo,
The Gories,
Blancmange,
Althea and Donna,
The Sound,
Dennis Brown,
Darondo,
Bang On A Can,
Matthew Bourne,
Cameo,
Frankie Knuckles,
Echo & the Bunnymen,
Radiopuhelimet,
Pole,
Oblivians, Oblivians, Oblivians, Oblivians.
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.