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 Finland and from London.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in Winnipeg and Spokane.
I'm losing my edge to the art-school London 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 linndrum 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 Qualms to the disco kids.
I played it at the Troubador.
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 This Heat. All the underground hits.
All Wally Richardson tracks. I heard you have a vinyl of every Mars record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Mr. Review record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Banda Bassotti,
Chris Corsano,
Electric Prunes,
Groovy Waters,
Neu!,
Isaac Hayes,
Rahsaan Roland Kirk,
Junior Murvin,
Black Moon,
Barclay James Harvest,
The Standells,
The Zeros,
Minny Pops,
Mantronix,
Underground Resistance,
Peter Gordon & Love of Life Orchestra,
David Bowie,
Pharaoh Sanders and the Fire Engines,
Sonny Sharrock,
Boogie Down Productions,
Kas Product,
Dennis Brown,
Desert Stars,
Sugar Minott,
Skarface,
Swans,
June Days,
Scott Walker,
Don Cherry,
Ultra Naté,
Dorothy Ashby,
Joensuu 1685,
Wings,
Rowland S Howard / Lydia Lunch,
Gang of Four,
The Barracudas,
KRS-One,
Magazine,
Hoover,
Gastr Del Sol,
The Five Americans,
Ultramagnetic MC's,
X-101,
Soulsonic Force,
Traffic Nightmare,
Ossler,
Morten Harket,
Chris & Cosey,
Stockholm Monsters,
David Axelrod,
Mary Jane Girls,
Crime,
The Blackbyrds,
Darondo,
T.S.O.L.,
Hot Snakes,
Siglo XX,
Curtis Mayfield,
Charles Mingus,
The Moody Blues,
The Vogues,
Kool Moe Dee,
Whodini,
The American Breed, The American Breed, The American Breed, The American Breed.
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.