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 Ecuador and from Lyon.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Milan and Madrid.
I'm losing my edge to the art-school Tokyo 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 Feelies practice in a loft in Haledon.
I was working on the güiro 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 Spandau Ballet to the grunge 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 Crash Course in Science. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every Porter Ricks record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Masta Ace, Craig G, Kool G Rap, Big Daddy Kane record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
K-Klass,
Harmonia,
Gary Puckett & The Union Gap,
Adolescents,
June Days,
a-ha,
The Black Dice,
The Modern Lovers,
Blossom Toes,
Radiopuhelimet,
The Dave Clark Five,
Lizzy Mercier Descloux,
The Cramps,
Mary Jane Girls,
Second Layer,
Kevin Saunderson,
June of 44,
Lalo Schifrin,
Hoover,
Sly & The Family Stone,
Piero Umiliani,
The Standells,
Siglo XX,
Sunsets and Hearts,
The Sonics,
Suicide,
Inner City,
Susan Cadogan,
Orchestral Manoeuvres in the Dark,
Prince Buster,
Funkadelic,
Malaria!,
Cheater Slicks,
Section 25,
Vaughan Mason & Crew,
Silicon Teens,
Fela Kuti,
John Foxx,
X-101,
Quando Quango,
Amazonics,
Althea and Donna,
Arab on Radar,
Arcadia,
Black Flag,
Scrapy,
Clear Light,
Radiohead,
Quadrant,
Rapeman,
Skaos,
Terrestrial Tones,
Bang on a Can All-Stars,
LL Cool J,
Technova,
The Zeros,
Maurizio,
The Techniques,
Sam Rivers,
Excepter, Excepter, Excepter, Excepter.
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.