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 Ireland and from Copenhagen.
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 1972.
I'm losing my edge.
To all the kids in Mexico City and Shanghai.
I'm losing my edge to the art-school Mumbai 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Sly & The Family Stone to the disco 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 Electric Prunes. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Y Pants 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Wings record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slackers,
Rakim,
Pole,
Skaos,
Juan Atkins,
cv313,
Lalo Schifrin,
Dave Gahan,
the Human League,
The Chocolate Watch Band,
Lyres,
The Tremeloes,
The Remains,
Cal Tjader,
The Sonics,
Ronnie Foster,
Matthew Halsall,
Archie Shepp,
The Doobie Brothers,
Ludus,
Eric Dolphy,
Japan,
Althea and Donna,
John Coltrane,
Albert Ayler,
Arthur Verocai,
Roy Ayers,
The Five Americans,
Negative Approach,
Kurtis Blow,
Magma,
kango's stein massive,
The Slits,
Parry Music,
Mandrill,
Manfred Mann's Earth Band,
Hoover,
Gregory Isaacs,
The Gap Band,
R.M.O.,
Beasts of Bourbon,
The Divine Comedy,
The Gladiators,
Visage,
Liliput,
Boz Scaggs,
Al Stewart,
Jacob Miller,
the Association,
Theoretical Girls,
The Sound,
Robert Hood,
Ultimate Spinach,
Man Parrish,
Bootsy's Rubber Band,
Gil Scott Heron,
Gastr Del Sol,
Michelle Simonal,
Monks,
The Red Krayola,
Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap, Gary Puckett & The Union Gap.
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.