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 Cape Verde and from Cairo.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Bologna.
I'm losing my edge to the art-school Stockholm 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the harpsichord 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 Altered Images to the rap kids.
I played it at the Crocodile.
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 Adolescents. All the underground hits.
All Country Teasers tracks. I heard you have a vinyl of every Ronnie Foster record on German import.
I heard that you have a white label of every seminal funk 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 an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Patti Smith record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
Sällskapet,
The Count Five,
Minny Pops,
Boredoms,
The Peanut Butter Conspiracy,
Jerry's Kids,
Roy Ayers,
Icehouse,
Lebanon Hanover,
Electric Prunes,
Siglo XX,
Moebius,
Maurizio,
The Sisters of Mercy,
The Alarm Clocks,
PIL,
Black Moon,
Second Layer,
Arab on Radar,
Whodini,
EPMD,
Rufus Thomas,
Manfred Mann's Earth Band,
Sarah Menescal,
Glambeats Corp.,
Vainqueur,
Tres Demented,
Derrick Morgan,
Captain Beefheart & His Magic Band,
Aloha Tigers,
The United States of America,
Bauhaus,
the Slits,
Roxette,
Sly & The Family Stone,
Depeche Mode,
Procol Harum,
Lou Reed,
Minor Threat,
Scan 7,
Deutsch Amerikanische Freundschaft,
B.T. Express,
Janne Schatter,
Bang On A Can,
the Normal,
Barbara Tucker,
Bootsy Collins,
Ultravox,
Nirvana,
Accadde A,
Marc Romboy vs. Booka Shade,
Don Cherry,
John Cale,
The Black Dice,
Pylon,
The Smiths,
Masters at Work,
Aaron Thompson,
Avey Tare & Kría Brekkan,
Pete Rock & C.L. Smooth,
The Mojo Men,
Curtis Mayfield, Curtis Mayfield, Curtis Mayfield, Curtis Mayfield.
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.