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 Chad and from Manila.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Delhi and Mexico City.
I'm losing my edge to the art-school Johannesburg 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 harpsichord 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 Marmalade to the electroclash kids.
I played it at Cafe Wha.
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 Sparks. All the underground hits.
All Goldenarms tracks. I heard you have a vinyl of every E-Dancer record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Roxy Music record.
I hear that you and your band have sold your clarinet and bought a 808.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
The Monks,
Urselle,
Lou Reed & John Cale,
The Modern Lovers,
Gabor Szabo,
Stockholm Monsters,
Bad Manners,
Josef K,
Icehouse,
Marmalade,
Mary Jane Girls,
Scion,
Buzzcocks,
Tomorrow,
John Holt,
Pere Ubu,
The Leaves,
Ornette Coleman,
Bauhaus,
Skarface,
The Selecter,
Rhythim Is Rhythim,
Barbara Tucker,
Blossom Toes,
Throbbing Gristle,
Jeru the Damaja,
48th St. Collective,
Theoretical Girls,
EPMD,
Tom Boy,
The Jesus and Mary Chain,
Bizarre Inc.,
Moss Icon,
E-Dancer,
Oneida,
Darondo,
F. McDonald,
Gil Scott Heron,
Scientists,
Public Enemy,
Massinfluence,
Quantec,
Infiniti,
The Dave Clark Five,
Minor Threat,
Joey Negro,
Sixth Finger,
Royal Trux,
DNA,
Gerry Rafferty,
Bronski Beat,
Black Moon,
Leonard Cohen,
The Dead C,
The Flesh Eaters,
Henry Cow,
Joensuu 1685,
CMW,
Ultramagnetic MC's,
Robert Wyatt,
Freddie Wadling, Freddie Wadling, Freddie Wadling, Freddie Wadling.
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.