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 Ethiopia and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Manila and Taipei.
I'm losing my edge to the art-school Bologna 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 Holger Czukay 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 Half Japanese to the dance kids.
I played it at the Troubador.
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 Pete Rock & C.L. Smooth. All the underground hits.
All Wire tracks. I heard you have a vinyl of every Aswad 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 '80s cut and another box set from the '70s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
The Dead C,
Babytalk,
Audionom,
Barry Ungar,
David McCallum,
Bizarre Inc.,
Eden Ahbez,
Newcleus,
Rahsaan Roland Kirk,
The Barracudas,
DNA,
Tom Boy,
Red Lorry Yellow Lorry,
The Victims,
Todd Rundgren,
Rotary Connection,
Major Organ And The Adding Machine,
Fluxion,
Spoonie Gee,
Gerry Rafferty,
Ultravox,
Minor Threat,
Bauhaus,
Deutsch Amerikanische Freundschaft,
Camron Feat. Memphis Bleek And Beenie Seigel,
T.S.O.L.,
Howard Jones,
Neu!,
Index,
Roger Hodgson,
Ajijia Myrayebe,
Wolf Eyes,
Erykah Badu,
The Pretty Things,
Marcia Griffiths,
The Modern Lovers,
Sunsets and Hearts,
Mars,
Ornette Coleman,
KRS-One,
Rufus Thomas,
OOIOO,
Gong,
Pantaleimon,
Rod Modell,
Eric B and Rakim,
Rapeman,
Leonard Cohen,
Dawn Penn,
Morten Harket,
Oblivians,
Cabaret Voltaire,
Suburban Knight,
Gian Franco Pienzio,
The Fire Engines,
The Trojans,
Black Moon,
Black Sheep,
Agent Orange,
London Community Gospel Choir,
The Saints,
Tropical Tobacco, Tropical Tobacco, Tropical Tobacco, Tropical Tobacco.
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.