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 Tunisia and from New York.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1962 to 1972.
I'm losing my edge.
To all the kids in Tehran and Seoul.
I'm losing my edge to the art-school New York 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 oboe sounds with much patience.
I was there when Robert Palmer 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 Roxette to the dance kids.
I played it at CBGB's.
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 Peter & Gordon. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every Wings record on German import.
I heard that you have a white label of every seminal jazz 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 synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
Yusef Lateef,
Rapeman,
Masters at Work,
The Grass Roots,
DJ Style,
Shoche,
Brass Construction,
Byron Stingily,
Soft Machine,
Radiohead,
Neil Young & Crazy Horse,
Marvin Gaye,
Eve St. Jones,
10cc,
Schoolly D,
Bobby Womack,
The Monochrome Set,
Pussy Galore,
48th St. Collective,
Neu!,
The Busters,
Underground Resistance,
Jeru the Damaja,
Bobby Hutcherson,
La Düsseldorf,
Robert Görl,
Wire,
Spandau Ballet,
Flash Fearless,
Quando Quango,
Gian Franco Pienzio,
Grandmaster Flash,
The Neon Judgement,
Art Ensemble Of Chicago,
Black Moon,
The Blackbyrds,
Josef K,
Kenny Larkin,
Kauko Röyhkä ja Narttu,
The Cure,
Stetsasonic,
Pantytec,
B.T. Express,
The Cramps,
Jacques Brel,
Cheater Slicks,
UT,
Mandrill,
Lungfish,
Arthur Verocai,
Barclay James Harvest,
The Trojans,
Alice Coltrane,
Lindisfarne,
Max Romeo,
Beasts of Bourbon,
John Foxx,
Fear,
Jerry Gold Smith,
Quadrant,
Stockholm Monsters,
The Dave Clark Five, The Dave Clark Five, The Dave Clark Five, The Dave Clark Five.
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.