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 Niger and from Salvador.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Manchester and Tehran.
I'm losing my edge to the art-school Copenhagen 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator 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 Moss Icon to the disco kids.
I played it at the 40 Watt.
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 Judy Mowatt. All the underground hits.
All The Divine Comedy tracks. I heard you have a vinyl of every Anthony Braxton 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 '70s cut and another box set from the '80s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Warsaw record.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear that you and your band have sold your linndrum 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?
Japan,
Steve Hackett,
The Cowsills,
Sad Lovers and Giants,
Derrick Morgan,
Joyce Sims,
Marc Almond,
Liaisons Dangereuses,
Harry Pussy,
Thinking Fellers Union Local 282,
the Bar-Kays,
Idris Muhammad,
Sam Rivers,
Hoover,
Gang Green,
Sun Ra,
Chris & Cosey,
The Human League,
London Community Gospel Choir,
Schoolly D,
Crime,
Mr. Review,
The Gun Club,
H. Thieme,
The Evens,
Wally Richardson,
David Axelrod,
Crooked Eye,
Sugar Minott,
Kas Product,
John Holt,
Gong,
Crispy Ambulance,
The Fortunes,
Kurtis Blow,
Easy Going,
Crash Course in Science,
Robert Wyatt,
Bush Tetras,
Jandek,
This Heat,
Ralphi Rosario,
Super Lover Cee & Casanova Rud,
Matthew Bourne,
The Fall,
Manfred Mann's Earth Band,
Morten Harket,
The Cure,
New York Dolls,
Pole,
The Cramps,
Rosa Yemen,
John Cale,
Lonnie Liston Smith,
Jacob Miller,
The Gories,
Can,
The Smoke,
Gang Starr,
Model 500, Model 500, Model 500, Model 500.
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.