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 Grenada and from Paris.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Sao Paulo.
I'm losing my edge to the art-school Stockholm 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator 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 Desert Stars to the crunk kids.
I played it at Cafe Wha.
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 Oppenheimer Analysis. All the underground hits.
All The Litter tracks. I heard you have a vinyl of every Vaughan Mason & Crew record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Litter record.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Silicon Teens,
Funkadelic,
It's A Beautiful Day,
Barry Ungar,
Henry Cow,
The Smoke,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Danielle Patucci,
Godley & Creme,
Darondo,
Outsiders,
Can,
Strawberry Alarm Clock,
Moebius,
Chris & Cosey,
Roy Ayers,
Amon Düül,
The Detroit Cobras,
Wire,
10cc,
Main Source,
The Evens,
Graham Central Station,
Deepchord,
Lou Reed,
Patti Smith,
The J.B.'s,
Black Bananas,
Amon Düül II,
Yaz,
Underground Resistance,
Fugazi,
Bobby Womack,
Scientists,
Robert Hood,
The Last Poets,
Spoonie Gee,
Archie Shepp,
Eurythmics,
Lou Reed & John Cale,
the Soft Cell,
Black Pus,
Eric B and Rakim,
Intrusion,
Lindisfarne,
The Slits,
Hot Snakes,
Severed Heads,
Captain Beefheart & His Magic Band,
Slick Rick,
The Modern Lovers,
Tom Boy,
James Chance & The Contortions,
Sun Ra,
The New Christs,
David Axelrod,
Rites of Spring,
Richard Hell and the Voidoids,
Isaac Hayes,
Au Pairs,
Livin' Joy,
The Names, The Names, The Names, The Names.
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.