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 London.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Tehran.
I'm losing my edge to the art-school Manchester 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 Chic practice in a loft in New York.
I was working on the oboe sounds with much patience.
I was there when Nile Rodgers 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 Slave to the jazz kids.
I played it at the Troubador.
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 Germs. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Josef K record.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Thompson Twins,
The Selecter,
Red Lorry Yellow Lorry,
Kaleidoscope,
CMW,
R.M.O.,
Pylon,
Nick Cave & The Bad Seeds,
The Fuzztones,
Adolescents,
Funky Four + One,
Kauko Röyhkä ja Narttu,
The Standells,
Subhumans,
Barclay James Harvest,
48th St. Collective,
Gastr Del Sol,
Deutsch Amerikanische Freundschaft,
Gang Gang Dance,
Crispy Ambulance,
Johnny Clarke,
The Smoke,
Dorothy Ashby,
Kevin Saunderson,
Icehouse,
Zapp,
Peter Gordon & Love of Life Orchestra,
Section 25,
Cabaret Voltaire,
Massinfluence,
Moss Icon,
The Real Kids,
The Blues Magoos,
Maleditus Sound,
The Peanut Butter Conspiracy,
Gil Scott-Heron & Brian Jackson,
Can,
The Moleskins,
Kool Moe Dee,
Sparks,
Major Organ And The Adding Machine,
Minny Pops,
Porter Ricks,
Unwound,
Joe Smooth,
Schoolly D,
David Axelrod,
Young Marble Giants,
The Detroit Cobras,
Rufus Thomas,
Underground Resistance,
Bootsy Collins,
Robert Wyatt,
Pantytec,
Brick,
Ludus,
Scratch Acid,
Terrestrial Tones,
K-Klass, K-Klass, K-Klass, K-Klass.
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.