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 Albania and from Lille.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Taipei.
I'm losing my edge to the art-school London 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 snare sounds with much patience.
I was there when Holger Czukay 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 Public Image Ltd. to the grime kids.
I played it at the Spitz.
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 Minor Threat. All the underground hits.
All The Martian tracks. I heard you have a vinyl of every Quadrant record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Whodini record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Make Up,
Excepter,
Robert Görl,
David Bowie,
Soft Machine,
Roxette,
The Angels of Light,
Lafayette Afro Rock Band,
Janne Schatter,
Sam Rivers,
Fluxion,
Barry Ungar,
Urselle,
Mr. Review,
Nils Olav,
Dorothy Ashby,
Rotary Connection,
Bootsy's Rubber Band,
The Tremeloes,
Andrew Hill,
OOIOO,
Hardrive,
Marcia Griffiths,
cv313,
Stiv Bators,
Harpers Bizarre,
Max Romeo,
Motorama,
Eric Copeland,
Section 25,
Monks,
A Certain Ratio,
Quadrant,
Ken Boothe,
Alice Coltrane,
Minor Threat,
FM Einheit,
X-101,
Fort Wilson Riot,
New Age Steppers,
Erasure,
the Normal,
The Young Rascals,
Deepchord,
Stetsasonic,
Scrapy,
Skarface,
Radio Birdman,
Barbara Tucker,
Maleditus Sound,
The Sisters of Mercy,
Accadde A,
The Count Five,
Chris Corsano,
The Chocolate Watch Band,
Arab on Radar,
Todd Terry,
Chrome,
Altered Images,
Pylon,
Andrew Ashong & Theo Parrish,
Sarah Menescal,
James Chance & The Contortions,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.