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 South Africa and from Spokane.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Salvador and Seoul.
I'm losing my edge to the art-school Lagos 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 chamberlin 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 Scott Walker to the grime 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 Aswad. All the underground hits.
All The Searchers tracks. I heard you have a vinyl of every K-Klass record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funkadelic,
The Motions,
Monolake,
Maurizio,
The Cowsills,
Can,
Stiv Bators,
Marc Almond,
R.M.O.,
The Durutti Column,
Crime,
Gang of Four,
New Age Steppers,
Infiniti,
Angry Samoans,
Chrome,
Reuben Wilson,
Fort Wilson Riot,
Alton Ellis,
Arab on Radar,
Warren Ellis,
The Modern Lovers,
Sonic Youth,
Pagans,
Model 500,
Glenn Branca,
Newcleus,
Visage,
Trumans Water,
The Buckinghams,
Goldenarms,
Juan Atkins,
Peter Gordon & Love of Life Orchestra,
Organ,
Metal Thangz,
a-ha,
Bronski Beat,
Carl Craig,
Kaleidoscope,
Sonny Sharrock,
Monks,
Basic Channel,
La Düsseldorf,
Roy Ayers Ubiquity,
Bobbi Humphrey,
Gil Scott Heron,
Surgeon,
Los Fastidios,
Manfred Mann's Earth Band,
Barclay James Harvest,
The Walker Brothers,
the Bar-Kays,
Eric B and Rakim,
The Litter,
Bobby Byrd,
Jawbox,
Pantaleimon,
Funky Four + One,
Liaisons Dangereuses,
The Remains,
Public Enemy,
The Mojo Men,
Kango’s Stein Massive,
The Mummies,
Connie Case, Connie Case, Connie Case, Connie Case.
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.