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 Slovakia and from Lille.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Taipei and Lyon.
I'm losing my edge to the art-school Milan 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the synthesizer 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 Peter and Kerry to the funk 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 Kevin Saunderson. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Starr,
X-102,
Bush Tetras,
The J.B.'s,
Derrick Morgan,
The Victims,
Funkadelic,
Mark Hollis,
Laurel Aitken,
the Sonics,
Dorothy Ashby,
Jesper Dahlbäck,
Ornette Coleman,
Mr. Review,
Alton Ellis,
the Normal,
H. Thieme,
Jacob Miller,
Scientists,
Rahsaan Roland Kirk,
Soft Machine,
The Busters,
Hardrive,
The Velvet Underground,
Albert Ayler,
Tres Demented,
John Foxx,
The Tremeloes,
Bobby Byrd,
Con Funk Shun,
Gil Scott-Heron and Jamie xx,
Lalo Schifrin,
Terror Squad Feat. Camron,
Graham Central Station,
Ajijia Myrayebe,
Radio Birdman,
Max Romeo,
Jimmy McGriff,
Barrington Levy,
Gong,
Roxy Music,
Bobby Hutcherson,
Bob Dylan,
Cal Tjader,
Motorama,
David McCallum,
Yazoo,
Glambeats Corp.,
DNA,
Liaisons Dangereuses,
Yaz,
Kurtis Blow,
The Index,
Minutemen,
Japan,
Thee Headcoats,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
The Monochrome Set,
Black Moon,
B.T. Express,
Delta 5,
The Misunderstood,
Thinking Fellers Union Local 282,
Supertramp, Supertramp, Supertramp, Supertramp.
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.