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 Ethiopia and from Copenhagen.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Jakarta.
I'm losing my edge to the art-school Glasgow 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 rhodes sounds with much patience.
I was there when Michael McDonald 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 Barclay James Harvest to the techno kids.
I played it at the Crocodile.
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 Thee Headcoats. All the underground hits.
All Index tracks. I heard you have a vinyl of every Pantaleimon record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a LL Cool J record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smoke,
The Pretty Things,
Mo-Dettes,
Gian Franco Pienzio,
Magazine,
Sandy B,
Sun City Girls,
Camron Feat. Memphis Bleek And Beenie Seigel,
Make Up,
Unwound,
Laurel Aitken,
Freddie Wadling,
Amon Düül II,
Eden Ahbez,
Tim Buckley,
Robert Hood,
Arthur Verocai,
Stereo Dub,
The West Coast Pop Art Experimental Band,
Pharoah Sanders,
Rekid,
Yellowson,
Robert Wyatt,
Gang Gang Dance,
Easy Going,
Aloha Tigers,
K-Klass,
The Real Kids,
Lonnie Liston Smith,
Absolute Body Control,
Marc Romboy vs. Booka Shade,
Visionaries,LMNO, T- Love & Iriscience,
Flipper,
Public Image Ltd.,
Iggy Pop,
Kerrie Biddell,
Thee Headcoats,
The Birthday Party,
Bill Wells,
The Remains,
Joe Smooth,
Arab on Radar,
Jerry's Kids,
Major Organ And The Adding Machine,
Pylon,
JFA,
Delta 5,
The Gories,
Curtis Mayfield,
Harry Pussy,
The Residents,
Tubeway Army,
T. Rex,
The Invisible,
The Pop Group,
Matthew Halsall,
Eric B and Rakim,
Camberwell Now,
Magma,
Panda Bear,
DJ Sneak,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.