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 Russia 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 1974.
I'm losing my edge.
To all the kids in Salvador and New York.
I'm losing my edge to the art-school Jakarta 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 Lewis practice in a loft in Vancouver.
I was working on the linndrum 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 The Buckinghams to the punk 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 Khruangbin. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Sly & The Family Stone 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Oneida,
Lou Reed,
R.M.O.,
The Cramps,
Vladislav Delay,
Johnny Clarke,
Mark Hollis,
The Kinks,
The Names,
Parry Music,
Average White Band,
It's A Beautiful Day,
Radiopuhelimet,
Gil Scott Heron,
Stockholm Monsters,
The Vogues,
Ajijia Myrayebe,
Banda Bassotti,
Rhythm & Sound,
Lou Reed & John Cale,
Rakim,
Ohio Players,
Wasted Youth,
Scion,
Audionom,
Au Pairs,
K-Klass,
Liliput,
The Gladiators,
Fifty Foot Hose,
Carl Craig,
Pole,
Lightning Bolt,
Pete Rock & C.L. Smooth,
World's Most,
The Human League,
Lee Hazlewood,
Stetsasonic,
Man Eating Sloth,
The Index,
Reagan Youth,
Index,
Buzzcocks,
kango's stein massive,
The Evens,
Michelle Simonal,
ABC,
Wighnomy Brothers & Robag Wruhme,
The Happenings,
the Sonics,
Nik Kershaw,
The Blues Magoos,
Bang On A Can,
Stiv Bators,
Animal Collective,
Mandrill,
The Knickerbockers,
The Cosmic Jokers,
Public Enemy,
The Selecter,
Goldenarms,
Monks, Monks, Monks, Monks.
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.