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 Paraguay 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 1967 to 1973.
I'm losing my edge.
To all the kids in Manchester and Spokane.
I'm losing my edge to the art-school Bremen 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 snare 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 Little Man 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 Inner City. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Archie Shepp,
The Sound,
Little Man,
Public Image Ltd.,
The Star Department,
Moebius,
Barclay James Harvest,
AZ,
MDC,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Dennis Brown,
Ultravox,
John Holt,
Liaisons Dangereuses,
Dark Day,
Magma,
Model 500,
Gastr Del Sol,
Thee Headcoats,
Joy Division,
Roger Hodgson,
Alice Coltrane,
Soul Sonic Force,
MC5,
ABBA,
Banda Bassotti,
Roxy Music,
Sly & The Family Stone,
Circle Jerks,
Grandmaster Flash,
Visionaries,LMNO, T- Love & Iriscience,
The Martian,
Inner City,
Wasted Youth,
Dr. Dre and Snoop Doggy Dog,
New York Dolls,
Danielle Patucci,
Stockholm Monsters,
Donald Byrd,
The Blackbyrds,
Black Bananas,
Young Marble Giants,
Amon Düül,
Carl Craig,
The Smiths,
Peter & Gordon,
Peter and Kerry,
Yazoo,
Scott Walker,
Lakeside,
The West Coast Pop Art Experimental Band,
Rhythm & Sound,
Severed Heads,
La Düsseldorf,
The Red Krayola,
Radiopuhelimet,
Lafayette Afro Rock Band,
Lizzy Mercier Descloux,
Joe Smooth,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.