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 Kosovo and from Glasgow.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Salvador and Johannesburg.
I'm losing my edge to the art-school Philadelphia 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord 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 the Association 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 Ten City. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Arab on Radar record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your oboe and bought a theremin.
I hear that you and your band have sold your theremin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
The Knickerbockers,
New Age Steppers,
Los Fastidios,
Japan,
Davy DMX,
The Human League,
Peter and Kerry,
Gerry Rafferty,
E-Dancer,
Fort Wilson Riot,
JFA,
Sexual Harrassment,
Unrelated Segments,
Soft Cell,
Smog,
10cc,
Super Lover Cee & Casanova Rud,
Jerry Gold Smith,
Tim Buckley,
Art Ensemble Of Chicago,
La Düsseldorf,
Selector Dub Narcotic,
John Lydon,
the Association,
Boogie Down Productions,
DeepChord presents Echospace,
Jawbox,
Unwound,
Skarface,
Con Funk Shun,
Neu!,
Janne Schatter,
Kerri Chandler,
Derrick Morgan,
Danielle Patucci,
Camron Feat. Memphis Bleek And Beenie Seigel,
Lou Reed & John Cale,
Erykah Badu,
48th St. Collective,
Circle Jerks,
Marcia Griffiths,
Shuggie Otis,
Sun Ra,
Sarah Menescal,
The Move,
Lightning Bolt,
AZ,
Fad Gadget,
Mr. Review,
Barbara Tucker,
The Gun Club,
Moss Icon,
A Certain Ratio,
It's A Beautiful Day,
Hashim,
Swans,
Alphaville,
The Vogues,
Lungfish,
Dawn Penn,
Mandrill,
The Durutti Column, The Durutti Column, The Durutti Column, The Durutti Column.
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.