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 Poland and from Spokane.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Delhi and Seoul.
I'm losing my edge to the art-school Madrid 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 1976 at the first Chic practice in a loft in New York.
I was working on the marimba sounds with much patience.
I was there when David Bowie 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 Sugar Minott to the techno kids.
I played it at the Troubador.
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 Lou Christie. All the underground hits.
All Swell Maps tracks. I heard you have a vinyl of every Rotary Connection record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
CMW,
Youth Brigade,
Nils Olav,
Laurel Aitken,
The Buckinghams,
Popol Vuh,
Fatback Band,
Tres Demented,
The Move,
Althea and Donna,
Minny Pops,
Kauko Röyhkä ja Narttu,
Sound Behaviour,
Accadde A,
Make Up,
the Slits,
cv313,
Man Eating Sloth,
The Alarm Clocks,
Pharaoh Sanders and the Fire Engines,
Jesper Dahlback,
Parry Music,
Maurizio,
Jawbox,
Tim Buckley,
Liaisons Dangereuses,
Wighnomy Brothers & Robag Wruhme,
Fad Gadget,
Wire,
Pulsallama,
Scott Walker,
The Monochrome Set,
Beasts of Bourbon,
Derrick May,
Brand Nubian,
Masters at Work,
Camberwell Now,
Tom Boy,
The Sonics,
Peter and Kerry,
Roxette,
Lou Reed & Metallica,
The Neon Judgement,
Thinking Fellers Union Local 282,
Altered Images,
Amon Düül,
Smog,
Bizarre Inc.,
Ponytail,
Throbbing Gristle,
Stiv Bators,
The Red Krayola,
Manfred Mann's Earth Band,
Buzzcocks,
Terry Callier,
Monks,
Spoonie Gee,
Stetsasonic,
Fugazi,
Gerry Rafferty,
Lou Reed,
Lucky Dragons,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.