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 Singapore and from Lyon.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Spokane and Manila.
I'm losing my edge to the art-school Mumbai 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Aswad to the jazz kids.
I played it at the 40 Watt.
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 Sound Behaviour. All the underground hits.
All The Dave Clark Five tracks. I heard you have a vinyl of every The Motions 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anakelly,
Cecil Taylor,
Oppenheimer Analysis,
Graham Central Station,
Black Pus,
Visage,
Tears for Fears,
Curtis Mayfield,
Erasure,
The Names,
The Saints,
Liliput,
The Mojo Men,
Super Lover Cee & Casanova Rud,
Accadde A,
Pet Shop Boys,
Nation of Ulysses,
Chrome,
The Raincoats,
The Chocolate Watch Band,
Cabaret Voltaire,
Radiohead,
Y Pants,
Notorious Big And Bone Thugs,
John Lydon,
Fifty Foot Hose,
Hardrive,
Hashim,
The Trojans,
Kerrie Biddell,
David Axelrod,
Index,
Nik Kershaw,
The Fortunes,
Ultra Naté,
Terry Callier,
Agent Orange,
Pharoah Sanders,
Gichy Dan,
The Fire Engines,
Howard Jones,
Tomorrow,
Teenage Jesus and the Jerks,
Gil Scott-Heron & Brian Jackson,
June Days,
The Blues Magoos,
Echo & the Bunnymen,
Letta Mbulu,
Black Moon,
The Gap Band,
The Walker Brothers,
The Dave Clark Five,
Whodini,
Sandy B,
Eden Ahbez,
The Zeros,
DNA,
Clear Light, Clear Light, Clear Light, Clear Light.
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.