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 Hungary and from Houston.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Tehran and Bologna.
I'm losing my edge to the art-school Tokyo 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 1973 at the first Television practice in a loft in New York.
I was working on the 808 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 The Alarm Clocks to the funk kids.
I played it at CBGB's.
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 Avey Tare's Slasher Flicks. All the underground hits.
All The Angels of Light tracks. I heard you have a vinyl of every Charles Mingus record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Lynne,
Cal Tjader,
Tears for Fears,
The Music Machine,
Fad Gadget,
Freddie Wadling,
The Residents,
Ludus,
Black Sheep,
Lightning Bolt,
Swell Maps,
Ultimate Spinach,
Gil Scott-Heron and Jamie xx,
Bobbi Humphrey,
Monolake,
Morten Harket,
Danielle Patucci,
Electric Light Orchestra,
Echospace,
Mad Mike,
Thompson Twins,
Albert Ayler,
Smog,
Mandrill,
The Flesh Eaters,
The Peanut Butter Conspiracy,
Symarip,
The Happenings,
Althea and Donna,
Visage,
Sixth Finger,
Prince Buster,
Jacques Brel,
The Monks,
Mark Hollis,
Tom Boy,
The Sound,
The Associates,
The Doors,
David McCallum,
The United States of America,
The Busters,
Barry Ungar,
It's A Beautiful Day,
Captain Beefheart & His Magic Band,
Flash Fearless,
X-Ray Spex,
Lalo Schifrin,
Aural Exciters,
Yusef Lateef,
Leonard Cohen,
Electric Prunes,
Flamin' Groovies,
Sexual Harrassment,
Skriet,
The Buckinghams,
Thee Headcoats,
Brand Nubian,
Matthew Halsall,
Kenny Larkin,
Be Bop Deluxe,
Buzzcocks,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.