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 Slovenia and from Calgary.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Winnipeg.
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 1973 at the first Television practice in a loft in New York.
I was working on the oboe sounds with much patience.
I was there when Donald Fagen 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 Scion to the grime 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 Monks. All the underground hits.
All The Royal Family And The Poor tracks. I heard you have a vinyl of every Malaria! record on German import.
I heard that you have a white label of every seminal electroclash 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 güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Altered Images,
Albert Ayler,
Sight & Sound,
The Shadows of Knight,
Soulsonic Force,
Model 500,
The Tremeloes,
The Last Poets,
John Holt,
Sexual Harrassment,
Black Flag,
Blake Baxter,
Rites of Spring,
Gian Franco Pienzio,
The Searchers,
Ronan,
Babytalk,
Nas,
F. McDonald,
Prince Buster,
John Coltrane,
Angry Samoans,
The Music Machine,
The Angels of Light,
Oppenheimer Analysis,
Sarah Menescal,
Brothers Johnson,
Smog,
Index,
Outsiders,
Sticky Fingaz feat. Raekwon,
The Seeds,
Lakeside,
the Bar-Kays,
Aaron Thompson,
The Smoke,
Al Stewart,
Fat Boys,
the Fania All-Stars,
Simply Red,
a-ha,
A Certain Ratio,
Shuggie Otis,
Bobby Sherman,
Marine Girls,
Matthew Halsall,
Lee Hazlewood,
Gong,
Yazoo,
Beasts of Bourbon,
Pylon,
Ossler,
Moby Grape,
Chris & Cosey,
Big Daddy Kane,
Mary Jane Girls,
Eric Dolphy,
The Velvet Underground,
Little Man,
Young Marble Giants,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.