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 Bulgaria and from Lille.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1978.
I'm losing my edge.
To all the kids in Houston and Johannesburg.
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 oboe 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 Bobby Sherman 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 John Foxx. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Technova 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Crash Course in Science record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Severed Heads,
Urselle,
Pharaoh Sanders and the Fire Engines,
the Association,
Yusef Lateef,
Cal Tjader,
Tommy Roe,
Girls At Our Best!,
Roy Ayers,
Gil Scott-Heron and Jamie xx,
James Chance & The Contortions,
Wally Richardson,
Alice Coltrane,
Mary Jane Girls,
Ice-T,
The Music Machine,
Toni Rubio,
Bobby Hutcherson,
Todd Rundgren,
Wings,
Echo & the Bunnymen,
Byron Stingily,
London Community Gospel Choir,
Avey Tare & Kría Brekkan,
The Offenders,
Rites of Spring,
Dawn Penn,
Organ,
Alison Limerick,
Radiohead,
The Moody Blues,
Gerry Rafferty,
Brick,
Aaron Thompson,
Lower 48,
Mantronix,
New Age Steppers,
The Count Five,
Masters at Work,
Pole,
X-Ray Spex,
The Peanut Butter Conspiracy,
Crispian St. Peters,
10cc,
The Smiths,
Ralphi Rosario,
Sexual Harrassment,
Warsaw,
Kerrie Biddell,
Nation of Ulysses,
Scion,
Soul Sonic Force,
Flash Fearless,
Nils Olav,
Zapp,
Robert Görl,
Alphaville,
Cheater Slicks,
Judy Mowatt,
Guru Guru,
De La Soul & Jungle Brothers,
the Sonics, the Sonics, the Sonics, the Sonics.
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.