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 South Africa and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Bremen.
I'm losing my edge to the art-school Mexico City 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the guitar 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 Marc Almond to the rap 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 The Beau Brummels. All the underground hits.
All Kayak tracks. I heard you have a vinyl of every Anthony Braxton 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Scott Walker record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
Lonnie Liston Smith,
Matthew Halsall,
Soul II Soul,
Cecil Taylor,
Fela Kuti,
La Düsseldorf,
Little Man,
Gil Scott Heron,
Nation of Ulysses,
The Real Kids,
Boredoms,
Tom Boy,
The Blackbyrds,
Das Ding,
Dr. Dre and Snoop Doggy Dog,
The Alarm Clocks,
Y Pants,
DJ Style,
Ossler,
R.M.O.,
Sun City Girls,
The Men They Couldn't Hang,
Notorious Big And Bone Thugs,
Cybotron,
Roger Hodgson,
John Holt,
Echo & the Bunnymen,
The American Breed,
Jacob Miller,
Heavy D & The Boyz,
The Fall,
The Stooges,
Essential Logic,
Adolescents,
Nirvana,
Stiv Bators,
Ituana,
Roy Ayers,
Quantec,
Pere Ubu,
Lower 48,
Anakelly,
Brothers Johnson,
Wally Richardson,
Eden Ahbez,
Delta 5,
Make Up,
Liliput,
The Associates,
Crash Course in Science,
Maleditus Sound,
The Searchers,
Schoolly D,
Loose Ends,
Iggy Pop,
Morten Harket,
Shoche,
Electric Prunes,
The Busters,
Jeru the Damaja,
Mantronix,
Jeff Lynne,
Scion,
The Tremeloes, The Tremeloes, The Tremeloes, The Tremeloes.
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.