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 Maldives and from Winnipeg.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Beijing and Paris.
I'm losing my edge to the art-school Seoul 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 mellotron 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 James Chance & The Contortions to the dance 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 Soulsonic Force. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Be Bop Deluxe 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 '70s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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 Alarm Clocks,
Rakim,
Television,
The Grass Roots,
Icehouse,
Buzzcocks,
Maleditus Sound,
Ultra Naté,
The Moleskins,
Pete Rock & C.L. Smooth,
Talk Talk,
Roxy Music,
The Remains,
Alice Coltrane,
The Motions,
Simply Red,
Rod Modell,
R.M.O.,
Pierre Henry,
Lonnie Liston Smith,
Swell Maps,
Second Layer,
The Human League,
Severed Heads,
Metal Thangz,
Siglo XX,
Charles Mingus,
Peter & Gordon,
Dr. Dre and Snoop Doggy Dog,
Hashim,
John Coltrane,
F. McDonald,
Gang of Four,
Donny Hathaway,
The Jesus and Mary Chain,
The J.B.'s,
The Fire Engines,
Supertramp,
T.S.O.L.,
Avey Tare & Kría Brekkan,
James White and The Blacks,
The Pop Group,
Absolute Body Control,
Oppenheimer Analysis,
Parry Music,
The Men They Couldn't Hang,
Bob Dylan,
Gang Gang Dance,
Curtis Mayfield,
Angry Samoans,
Electric Light Orchestra,
Grandmaster Flash and the Furious Five,
Nils Olav,
The Wake,
Vaughan Mason & Crew,
Radio Birdman,
Deepchord,
Wolf Eyes,
Vladislav Delay,
Thinking Fellers Union Local 282,
The Doobie Brothers,
Drexciya,
Eli Mardock,
Babytalk, Babytalk, Babytalk, Babytalk.
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.