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 Switzerland and from Accra.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Calgary and Lille.
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 Big Star practice in a loft in Memphis.
I was working on the harpsichord 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 Camron Feat. Memphis Bleek And Beenie Seigel to the dance 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 Black Sheep. All the underground hits.
All Amon Düül tracks. I heard you have a vinyl of every Neu! record on German import.
I heard that you have a white label of every seminal jazz 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 rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Cowsills record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Bobbi Humphrey,
Oblivians,
Franke,
Rosa Yemen,
Ronnie Foster,
Minny Pops,
Intrusion,
The Chocolate Watch Band,
Sonny Sharrock,
Model 500,
Aloha Tigers,
Circle Jerks,
Siouxsie and the Banshees,
Red Lorry Yellow Lorry,
AZ,
Ohio Players,
Scan 7,
Babytalk,
Cluster,
Sandy B,
Von Mondo,
Slick Rick,
Manfred Mann's Earth Band,
The Modern Lovers,
John Lydon,
R.M.O.,
Neu!,
Japan,
Rakim,
De La Soul & Jungle Brothers,
Graham Central Station,
Connie Case,
The Offenders,
Sound Behaviour,
B.T. Express,
Pantaleimon,
Lou Christie,
The Names,
The Durutti Column,
The Busters,
Brass Construction,
The Fall,
Absolute Body Control,
Ituana,
Mr. Review,
Crispian St. Peters,
Panda Bear,
Underground Resistance,
Average White Band,
Moebius,
Swans,
The Dirtbombs,
Jeff Mills,
The Cowsills,
Minutemen,
Nation of Ulysses,
Angels of Light & Akron/Family,
Soul II Soul,
Throbbing Gristle,
The Selecter, The Selecter, The Selecter, The Selecter.
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.