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 Algeria and from Manchester.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1975.
I'm losing my edge.
To all the kids in Mumbai and Manila.
I'm losing my edge to the art-school Lyon 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 mellotron sounds with much patience.
I was there when Captain Beefheart 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 Electric Light Orchestra to the grime kids.
I played it at the Astoria.
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 The Move. All the underground hits.
All Metal Thangz tracks. I heard you have a vinyl of every R.M.O. 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a This Heat record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharoah Sanders,
The Star Department,
The Monochrome Set,
Siglo XX,
Lou Christie,
Oppenheimer Analysis,
Traffic Nightmare,
Joe Smooth,
Cabaret Voltaire,
Anthony Braxton,
The Chocolate Watch Band,
Darondo,
Outsiders,
Sly & The Family Stone,
The New Christs,
Moss Icon,
Wasted Youth,
Underground Resistance,
Quadrant,
The Tremeloes,
Delta 5,
Judy Mowatt,
Scan 7,
Notorious Big And Bone Thugs,
The Durutti Column,
Gang Starr,
MDC,
The Offenders,
Minnie Riperton,
Freddie Wadling,
Supertramp,
The Fall,
The Doobie Brothers,
X-101,
Robert Wyatt,
Carl Craig,
The Dirtbombs,
Essential Logic,
CMW,
Boogie Down Productions,
Skaos,
James White and The Blacks,
Röyhkä ja Rättö ja Lehtisalo,
the Human League,
Basic Channel,
New Order,
Rotary Connection,
UT,
the Normal,
Urselle,
Brothers Johnson,
Country Teasers,
Thinking Fellers Union Local 282,
Electric Prunes,
KRS-One,
Lyres,
Popol Vuh,
Susan Cadogan,
Vainqueur,
The American Breed,
The Jesus and Mary Chain,
John Lydon,
Thee Headcoats,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.