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 Equatorial Guinea and from Lagos.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and New York.
I'm losing my edge to the art-school Bologna 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 1976 at the first Chic practice in a loft in New York.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Fad Gadget to the grime kids.
I played it at the Crocodile.
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 Blancmange. All the underground hits.
All Heaven 17 tracks. I heard you have a vinyl of every The Smiths record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Nation of Ulysses record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
EPMD,
Jacques Brel,
Quantec,
Severed Heads,
Tears for Fears,
Kings Of Tomorrow,
A Flock of Seagulls,
The Chocolate Watch Band,
Massinfluence,
Average White Band,
Scott Walker + Sunn O))),
Deutsch Amerikanische Freundschaft,
Larry & the Blue Notes,
Bauhaus,
Wally Richardson,
Roger Hodgson,
Pete Rock & C.L. Smooth,
Eric Copeland,
Alton Ellis,
Unrelated Segments,
Warsaw,
Gil Scott Heron,
Hashim,
Sound Behaviour,
Los Fastidios,
Notorious Big And Bone Thugs,
Prince Buster,
Ludus,
Desert Stars,
KRS-One,
Crispy Ambulance,
L. Decosne,
Joey Negro,
Outsiders,
Jimmy McGriff,
Big Daddy Kane,
Aural Exciters,
The Alarm Clocks,
Unwound,
8 Eyed Spy,
Sandy B,
Man Eating Sloth,
R.M.O.,
Animal Collective,
FM Einheit,
Joe Smooth,
Wire,
Eurythmics,
Arthur Verocai,
The Walker Brothers,
Blancmange,
T.S.O.L.,
Minutemen,
Aswad,
The Royal Family And The Poor,
Rahsaan Roland Kirk,
Barbara Tucker,
James Chance & The Contortions,
Gerry Rafferty,
Lucky Dragons,
Kas Product, Kas Product, Kas Product, Kas Product.
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.