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 Sudan and from Edmonton.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Philadelphia and Lille.
I'm losing my edge to the art-school Beijing 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 Lonnie Liston Smith to the electroclash kids.
I played it at the Hacienda.
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 Outsiders. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Wyatt,
Nico,
Whodini,
the Fania All-Stars,
Joey Negro,
The Modern Lovers,
Public Image Ltd.,
The Smiths,
Joe Finger,
Drexciya,
Rahsaan Roland Kirk,
Royal Trux,
Al Stewart,
Cabaret Voltaire,
Vladislav Delay,
Icehouse,
Pharoah Sanders,
Accadde A,
Patti Smith,
Moby Grape,
Gong,
Max Romeo,
Larry & the Blue Notes,
Bill Wells,
Hoover,
John Lydon,
Crispy Ambulance,
Jeru the Damaja,
Ultravox,
Metal Thangz,
Roxette,
Neil Young & Crazy Horse,
The Men They Couldn't Hang,
Organ,
Arab on Radar,
Eric Dolphy,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Idris Muhammad,
Connie Case,
The Index,
Sad Lovers and Giants,
Thompson Twins,
The Monochrome Set,
Scratch Acid,
Gerry Rafferty,
The Young Rascals,
Ice-T,
Grauzone,
Avey Tare,
The Shadows of Knight,
Kerrie Biddell,
Big Daddy Kane,
Monks,
Sex Pistols,
Ajijia Myrayebe,
Louis and Bebe Barron,
The Doors,
Sonny Sharrock,
Bootsy's Rubber Band,
Donny Hathaway,
Chris Corsano, Chris Corsano, Chris Corsano, Chris Corsano.
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.