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 Zambia and from Mexico City.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Madrid and Seoul.
I'm losing my edge to the art-school Halifax 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 1971 at the first Selda practice in a loft in Istanbul.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Tears for Fears to the dance kids.
I played it at the Hacienda.
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 X-Ray Spex. All the underground hits.
All Scan 7 tracks. I heard you have a vinyl of every Quantec record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Altered Images record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wighnomy Brothers & Robag Wruhme,
Con Funk Shun,
Pagans,
MDC,
Johnny Clarke,
The Busters,
Fela Kuti,
Pole,
Ronnie Foster,
Quando Quango,
Sad Lovers and Giants,
Gary Puckett & The Union Gap,
Terry Callier,
The Kinks,
The Slackers,
Bootsy Collins,
Colin Newman,
The Gladiators,
The Real Kids,
Q65,
Neil Young & Crazy Horse,
Gastr Del Sol,
The Selecter,
Los Fastidios,
Pulsallama,
Rhythm & Sound,
The Cowsills,
Severed Heads,
The Grass Roots,
Sugar Minott,
Amon Düül II,
Theoretical Girls,
Althea and Donna,
Thinking Fellers Union Local 282,
the Swans,
Sun City Girls,
H. Thieme,
Fort Wilson Riot,
Sight & Sound,
Frankie Knuckles,
Vainqueur,
Flamin' Groovies,
The Five Americans,
Darondo,
Dennis Brown,
Bill Wells,
Sam Rivers,
Camron Feat. Memphis Bleek And Beenie Seigel,
D'Angelo,
The Fuzztones,
Mantronix,
Surgeon,
Model 500,
Charles Mingus,
Wings,
Swans,
Suburban Knight,
the Germs,
The Music Machine,
Jacob Miller,
Audionom,
Minor Threat,
Gregory Isaacs, Gregory Isaacs, Gregory Isaacs, Gregory Isaacs.
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.