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 Kazakhstan and from Jakarta.
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 1977.
I'm losing my edge.
To all the kids in Houston and Edmonton.
I'm losing my edge to the art-school Lille 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Aaron Thompson to the techno 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 Marvin Gaye. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Archie Shepp record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Joe & The Fish,
Robert Hood,
Stockholm Monsters,
The Gladiators,
Strawberry Alarm Clock,
The Motions,
Y Pants,
The Young Rascals,
Marc Romboy vs. Booka Shade,
Dead Boys,
Joensuu 1685,
Albert Ayler,
The Monks,
Kerri Chandler,
Bobby Byrd,
Kings Of Tomorrow,
Chris & Cosey,
Cluster,
Jeru the Damaja,
Lalo Schifrin,
Simply Red,
Crispy Ambulance,
Duran Duran,
Sticky Fingaz feat. Raekwon,
Stetsasonic,
Blancmange,
Marc Almond,
Minor Threat,
Grandmaster Flash,
The Peanut Butter Conspiracy,
Country Teasers,
The Flesh Eaters,
Cybotron,
The Smoke,
Lee Hazlewood,
Black Flag,
Zapp,
Super Lover Cee & Casanova Rud,
The Skatalites,
The Men They Couldn't Hang,
Supertramp,
The Fall,
Schoolly D,
Groovy Waters,
Bizarre Inc.,
The Names,
Funkadelic,
Quando Quango,
Moss Icon,
Letta Mbulu,
Underground Resistance,
the Human League,
Roxette,
Popol Vuh,
B.T. Express,
Livin' Joy,
Television Personalities,
The Associates,
Crash Course in Science,
Fat Boys,
OOIOO,
the Slits,
The Buckinghams,
Masters at Work,
Jimmy McGriff, Jimmy McGriff, Jimmy McGriff, Jimmy McGriff.
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.