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 Jamaica and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1966 to 1977.
I'm losing my edge.
To all the kids in Paris and Milan.
I'm losing my edge to the art-school Salvador 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 güiro sounds with much patience.
I was there when Donald Fagen 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 Lyres to the funk kids.
I played it at the Roxy.
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 Camberwell Now tracks. I heard you have a vinyl of every T. Rex record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
Scott Walker,
Pagans,
The Young Rascals,
Steve Hackett,
Andrew Ashong & Theo Parrish,
Franke,
Colin Newman,
Bush Tetras,
The Gun Club,
Jesper Dahlback,
Orchestral Manoeuvres in the Dark,
Iggy Pop,
Connie Case,
Major Organ And The Adding Machine,
James Chance & The Contortions,
Blossom Toes,
Suicide,
Sun Ra Arkestra,
The Selecter,
Brass Construction,
Aural Exciters,
Gregory Isaacs,
The Martian,
It's A Beautiful Day,
Piero Umiliani,
Robert Hood,
Toni Rubio,
China Crisis,
Pete Rock & C.L. Smooth,
Sad Lovers and Giants,
The Searchers,
Eric Dolphy,
Danielle Patucci,
Jeru the Damaja,
Wighnomy Brothers & Robag Wruhme,
Television,
EPMD,
Maleditus Sound,
ABBA,
Sällskapet,
MDC,
Pharoah Sanders,
Yusef Lateef,
Art Ensemble Of Chicago,
Roy Ayers,
Babytalk,
Rites of Spring,
Alton Ellis,
The Tremeloes,
Alison Limerick,
Smog,
Sun City Girls,
Reagan Youth,
Avey Tare & Kría Brekkan,
Harpers Bizarre,
Lungfish,
The Smiths,
Mars,
Von Mondo,
Kurtis Blow,
Yaz,
Niagra, Niagra, Niagra, Niagra.
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.