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 Estonia and from Spokane.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Halifax and Shanghai.
I'm losing my edge to the art-school Shanghai 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the spring reverb 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 Heavy D & The Boyz to the funk kids.
I played it at the Hacienda.
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 Crispy Ambulance. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every June of 44 record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
London Community Gospel Choir,
Larry & the Blue Notes,
Clear Light,
Quadrant,
Art Ensemble Of Chicago,
Lindisfarne,
Brothers Johnson,
Donald Byrd,
Ludus,
The Human League,
Shuggie Otis,
Stockholm Monsters,
The Five Americans,
Black Moon,
Rahsaan Roland Kirk,
EPMD,
Black Bananas,
Harmonia,
Leonard Cohen,
Vaughan Mason & Crew,
Avey Tare & Kría Brekkan,
The Young Rascals,
The Barracudas,
The Trojans,
Man Eating Sloth,
Boz Scaggs,
Joensuu 1685,
Unwound,
Neil Young & Crazy Horse,
Pussy Galore,
The Doobie Brothers,
Kerri Chandler,
The Stooges,
Deutsch Amerikanische Freundschaft,
Man Parrish,
Marshall Jefferson,
Heavy D & The Boyz,
Andrew Hill,
The Blues Magoos,
Ossler,
La Düsseldorf,
Pharaoh Sanders and the Fire Engines,
Janne Schatter,
Absolute Body Control,
The Monks,
U.S. Maple,
David Axelrod,
Bobby Byrd,
David Bowie,
Prince Buster,
Sound Behaviour,
Rosa Yemen,
Warsaw,
Mr. Review,
Neu!,
Urselle,
The Shadows of Knight,
Radiohead,
X-Ray Spex,
Bluetip,
James Chance & The Contortions,
DJ Style, DJ Style, DJ Style, DJ Style.
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.