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 Uganda and from Manila.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Shanghai and Manila.
I'm losing my edge to the art-school Lagos 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 808 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 Don Cherry to the jazz 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 Aaron Thompson. All the underground hits.
All Skarface tracks. I heard you have a vinyl of every John Holt record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jerry's Kids,
Peter & Gordon,
Con Funk Shun,
The Durutti Column,
The Star Department,
Isaac Hayes,
Ice-T,
Mars,
Todd Rundgren,
Swell Maps,
Main Source,
Marmalade,
Unwound,
DJ Sneak,
Ornette Coleman,
Pylon,
Robert Görl,
Lou Christie,
Gabor Szabo,
Surgeon,
Barclay James Harvest,
Suburban Knight,
Sonny Sharrock,
Skaos,
Rhythim Is Rhythim,
Dark Day,
New York Dolls,
The Smiths,
D'Angelo,
X-101,
Kings Of Tomorrow,
Bob Dylan,
Liaisons Dangereuses,
Popol Vuh,
Depeche Mode,
Whodini,
the Germs,
Nick Cave & The Bad Seeds,
A Flock of Seagulls,
kango's stein massive,
John Holt,
La Düsseldorf,
Mantronix,
Swans,
David Axelrod,
Jesper Dahlbäck,
Gil Scott-Heron & Brian Jackson,
The Music Machine,
Talk Talk,
The Index,
Deepchord,
Ash Ra Tempel,
Skarface,
Arthur Verocai,
Pantytec,
Quantec,
Gerry Rafferty,
Ohio Players,
Barrington Levy,
Hashim,
Warren Ellis,
Radiopuhelimet,
Delta 5, Delta 5, Delta 5, Delta 5.
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.