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 Germany and from London.
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 1975.
I'm losing my edge.
To all the kids in Halifax and Johannesburg.
I'm losing my edge to the art-school Madrid 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 Nile Rodgers 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 Amon Düül II to the dance 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 Boredoms. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every The Angels of Light record on German import.
I heard that you have a white label of every seminal grime 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 harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a One Last Wish record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Curtis Mayfield,
Section 25,
Hashim,
Alphaville,
Max Romeo,
Lizzy Mercier Descloux,
Brand Nubian,
Gang Starr,
Lou Reed & John Cale,
Jandek,
Alison Limerick,
Scratch Acid,
Banda Bassotti,
the Normal,
Harmonia,
Al Stewart,
Amon Düül II,
Liliput,
Rahsaan Roland Kirk,
The Toasters,
MDC,
Fluxion,
Panda Bear,
Kauko Röyhkä ja Narttu,
Swans,
Andrew Ashong & Theo Parrish,
Bill Near,
The Pretty Things,
Jerry Gold Smith,
D'Angelo,
Suburban Knight,
U.S. Maple,
H. Thieme,
Agitation Free,
Harpers Bizarre,
The Monochrome Set,
Ossler,
Bang On A Can,
Faust,
Sugar Minott,
Lyres,
Scion,
Fugazi,
Parry Music,
Bang on a Can All-Stars,
The Litter,
Andrew Hill,
Sister Nancy,
Pierre Henry,
David Axelrod,
Arcadia,
Pole,
Kas Product,
Ajijia Myrayebe,
Cheater Slicks,
Louis and Bebe Barron,
Lee Hazlewood,
New York Dolls,
Icehouse,
Cal Tjader,
Janne Schatter,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.