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 Philippines and from Houston.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1970.
I'm losing my edge.
To all the kids in Houston and New York.
I'm losing my edge to the art-school Delhi 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 clarinet 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 Frankie Knuckles to the punk 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 Avey Tare. All the underground hits.
All Throbbing Gristle tracks. I heard you have a vinyl of every Fear 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 '60s cut and another box set from the '80s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar 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?
Nik Kershaw,
John Holt,
Gang of Four,
Circle Jerks,
Audionom,
Reagan Youth,
Can,
Wally Richardson,
Zapp,
Ossler,
48th St. Collective,
Colin Newman,
Moebius,
T.S.O.L.,
Ronan,
Frankie Knuckles,
Boogie Down Productions,
Suicide,
Stereo Dub,
Talk Talk,
James Chance & The Contortions,
Marmalade,
Radiopuhelimet,
Arab on Radar,
Bobby Womack,
the Fania All-Stars,
The American Breed,
Oppenheimer Analysis,
Aaron Thompson,
Al Stewart,
Amazonics,
Slave,
Boz Scaggs,
Radio Birdman,
Deadbeat,
Godley & Creme,
Juan Atkins,
Icehouse,
a-ha,
Basic Channel,
the Slits,
Orchestral Manoeuvres in the Dark,
Peter Gordon & Love of Life Orchestra,
The Jesus and Mary Chain,
Minor Threat,
Grandmaster Flash,
Robert Görl,
The Techniques,
Negative Approach,
Alphaville,
Q and Not U,
Rufus Thomas,
Severed Heads,
Quadrant,
Pagans,
Altered Images,
10cc,
Black Pus,
Masters at Work,
Erykah Badu,
The Doors, The Doors, The Doors, The Doors.
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.