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 Armenia and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Portland and Glasgow.
I'm losing my edge to the art-school Delhi 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 chamberlin 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 Thompson Twins to the electroclash kids.
I played it at the 40 Watt.
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 Barclay James Harvest. All the underground hits.
All Henry Cow tracks. I heard you have a vinyl of every Ultravox record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Aswad record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Steve Hackett,
Camron Feat. Memphis Bleek And Beenie Seigel,
Throbbing Gristle,
Groovy Waters,
Jandek,
Kool G Rap & DJ Polo,
Eric B and Rakim,
Urselle,
Neil Young & Crazy Horse,
Half Japanese,
Tres Demented,
Gil Scott-Heron & Brian Jackson,
Bootsy's Rubber Band,
Yellowson,
Lou Christie,
the Fania All-Stars,
D'Angelo,
Bobby Womack,
Marvin Gaye,
The Smiths,
Can,
Ludus,
Dark Day,
Joey Negro,
OOIOO,
The Gladiators,
Sister Nancy,
Q and Not U,
Marmalade,
Echospace,
The Pretty Things,
The Monks,
Thinking Fellers Union Local 282,
The Chocolate Watch Band,
Lightning Bolt,
The Alarm Clocks,
The Beau Brummels,
The Slits,
Silicon Teens,
Rites of Spring,
The Victims,
Fatback Band,
Captain Beefheart & His Magic Band,
Au Pairs,
Delon & Dalcan,
Barclay James Harvest,
Harry Pussy,
Pole,
Visage,
the Swans,
Lonnie Liston Smith,
Glenn Branca,
Sun Ra,
Subhumans,
Popol Vuh,
Barbara Tucker,
10cc,
Crispian St. Peters,
Bobby Sherman,
Tropical Tobacco,
The Sonics,
Scratch Acid,
Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra.
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.