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 Zimbabwe and from Madrid.
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 1976.
I'm losing my edge.
To all the kids in Johannesburg and Johannesburg.
I'm losing my edge to the art-school Toronto 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 rhodes 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 Bobby Womack to the electroclash kids.
I played it at Trash.
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 Josef K. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Angry Samoans record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Los Fastidios,
Ornette Coleman,
June Days,
Radiopuhelimet,
Jesper Dahlback,
Rotary Connection,
Drexciya,
Second Layer,
the Human League,
Agitation Free,
Pierre Henry,
Monolake,
Wolf Eyes,
Gang of Four,
Fort Wilson Riot,
Kings Of Tomorrow,
the Sonics,
Lyres,
Ajijia Myrayebe,
Soft Machine,
PIL,
Marmalade,
Michelle Simonal,
Neu!,
Monks,
Guru Guru,
Johnny Clarke,
Altered Images,
John Cale,
The Divine Comedy,
Patti Smith,
Avey Tare & Kría Brekkan,
Notorious Big And Bone Thugs,
Hardrive,
Lalann,
Lizzy Mercier Descloux,
Boogie Down Productions,
Yellowson,
Ohio Players,
R.M.O.,
FM Einheit,
Chris & Cosey,
Prince Buster,
The Black Dice,
Crooked Eye,
the Bar-Kays,
The Peanut Butter Conspiracy,
Eden Ahbez,
Sound Behaviour,
DNA,
Shoche,
The Residents,
The Associates,
Man Parrish,
Intrusion,
Erasure,
Arthur Verocai,
Major Organ And The Adding Machine,
Avey Tare,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.