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 Chile and from Glasgow.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Accra and New York.
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 1978 at the first Visage practice in a loft in London.
I was working on the organ 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 The Litter to the crunk 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 Cal Tjader. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Freddie Wadling 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 an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Average White Band,
Beasts of Bourbon,
Monolake,
Jawbox,
Ossler,
Tears for Fears,
Super Lover Cee & Casanova Rud,
Rhythim Is Rhythim,
The Cramps,
Maleditus Sound,
Soul II Soul,
Jacques Brel,
The Mummies,
Major Organ And The Adding Machine,
Barry Ungar,
David Axelrod,
The Human League,
Steve Hackett,
Nils Olav,
Selector Dub Narcotic,
the Sonics,
Swell Maps,
KRS-One,
the Fania All-Stars,
JFA,
Icehouse,
Thee Headcoats,
Animal Collective,
Sun Ra,
Althea and Donna,
Sunsets and Hearts,
Andrew Hill,
Sun Ra Arkestra,
Crooked Eye,
The Fire Engines,
June of 44,
Radiohead,
The Happenings,
Avey Tare,
Goldenarms,
Ornette Coleman,
Mars,
Sällskapet,
The Golliwogs,
Subhumans,
Public Enemy,
Colin Newman,
Negative Approach,
Crispian St. Peters,
Idris Muhammad,
Fear,
Silicon Teens,
The Blackbyrds,
Deepchord,
Bob Dylan,
Yazoo,
Pussy Galore,
Bill Wells,
The Sound,
X-101,
Robert Wyatt,
Echospace, Echospace, Echospace, Echospace.
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.