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 Costa Rica and from Delhi.
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 1975.
I'm losing my edge.
To all the kids in Copenhagen and Tokyo.
I'm losing my edge to the art-school Sao Paulo 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Lou Reed & John Cale to the funk kids.
I played it at the Astoria.
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 Divine Comedy. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Half Japanese 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 '50s cut and another box set from the '90s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Make Up record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Womack,
Lonnie Liston Smith,
Dual Sessions,
Von Mondo,
Roxette,
Hoover,
The Modern Lovers,
The Toasters,
Lou Reed,
Popol Vuh,
Andrew Hill,
Wally Richardson,
The Tremeloes,
The Count Five,
Hot Snakes,
Average White Band,
Television Personalities,
Organ,
Gong,
Severed Heads,
ABBA,
Banda Bassotti,
Mission of Burma,
Angry Samoans,
F. McDonald,
The Shadows of Knight,
Crispy Ambulance,
Oblivians,
X-Ray Spex,
Pagans,
Schoolly D,
L. Decosne,
Amazonics,
CMW,
Camron Feat. Memphis Bleek And Beenie Seigel,
Moss Icon,
Marine Girls,
Lyres,
Parry Music,
Eddi Front,
Mandrill,
Gang Green,
Bad Manners,
The Motions,
The Index,
The Remains,
Joe Finger,
Alton Ellis,
Roy Ayers Ubiquity,
Aswad,
Sonny Sharrock,
New Age Steppers,
Angels of Light & Akron/Family,
Warren Ellis,
Colin Newman,
Toni Rubio,
Steve Hackett,
Chris Corsano,
The United States of America,
Henry Cow,
Jeff Lynne,
Gichy Dan,
Mo-Dettes, Mo-Dettes, Mo-Dettes, Mo-Dettes.
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.