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 Ukraine and from Lagos.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Portland and Paris.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the linndrum 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 Avey Tare's Slasher Flicks to the disco kids.
I played it at the 40 Watt.
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 Minnie Riperton. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every Röyhkä ja Rättö ja Lehtisalo 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 '50s cut and another box set from the '90s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your guitar and bought a snare.
I hear that you and your band have sold your snare and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Human League,
The Blues Magoos,
Jandek,
Tim Buckley,
Sugar Minott,
The Fuzztones,
The Moleskins,
Quadrant,
The Pop Group,
Underground Resistance,
Bootsy Collins,
Rakim,
Bauhaus,
Wighnomy Brothers & Robag Wruhme,
Idris Muhammad,
The Tremeloes,
Delon & Dalcan,
The Modern Lovers,
The Martian,
Mo-Dettes,
kango's stein massive,
Joe Smooth,
R.M.O.,
Lou Reed,
Crispy Ambulance,
Flipper,
Franke,
Danielle Patucci,
Minny Pops,
Barbara Tucker,
The Real Kids,
Minutemen,
the Soft Cell,
Gary Puckett & The Union Gap,
Thee Headcoats,
Rekid,
Kool Moe Dee,
Lizzy Mercier Descloux,
Lalo Schifrin,
Masters at Work,
Charles Mingus,
Arthur Verocai,
Ice-T,
Yaz,
Jeru the Damaja,
Echo & the Bunnymen,
Rahsaan Roland Kirk,
The Count Five,
Anthony Braxton,
Groovy Waters,
World's Most,
Spandau Ballet,
The Sisters of Mercy,
Be Bop Deluxe,
Manfred Mann's Earth Band,
Sound Behaviour,
Q and Not U,
Bobby Sherman,
Ponytail,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.