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 Equatorial Guinea and from Tokyo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Philadelphia.
I'm losing my edge to the art-school Columbus 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 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 T. Rex to the electroclash kids.
I played it at the Astoria.
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 Susan Cadogan. All the underground hits.
All Bang On A Can tracks. I heard you have a vinyl of every Pierre Henry record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Gang Green record.
I hear that you and your band have sold your 808 and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
Freddie Wadling,
Pylon,
Gil Scott-Heron & Brian Jackson,
Monolake,
Ronan,
The Music Machine,
Public Enemy,
a-ha,
FM Einheit,
Average White Band,
Skarface,
Depeche Mode,
Alton Ellis,
The New Christs,
The Tremeloes,
Gabor Szabo,
The Golliwogs,
Nirvana,
The Pretty Things,
Hardrive,
Groovy Waters,
Dave Gahan,
Wally Richardson,
Alice Coltrane,
Rhythm & Sound,
Flash Fearless,
The Doobie Brothers,
Radio Birdman,
Bobby Byrd,
Roxette,
Flamin' Groovies,
Loose Ends,
Juan Atkins,
The Techniques,
Erykah Badu,
Con Funk Shun,
LL Cool J,
Tubeway Army,
Tears for Fears,
Al Stewart,
Robert Wyatt,
Erasure,
Charles Mingus,
China Crisis,
Oblivians,
Thinking Fellers Union Local 282,
Newcleus,
Carl Craig,
X-102,
Lonnie Liston Smith,
Ituana,
Chris & Cosey,
Shoche,
PIL,
Maleditus Sound,
The Barracudas,
Reuben Wilson,
Derrick Morgan,
Desert Stars,
Ohio Players,
Black Sheep, Black Sheep, Black Sheep, Black Sheep.
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.