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 Brazil and from Manila.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Copenhagen.
I'm losing my edge to the art-school Lille 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the 808 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 Von Mondo to the rock 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 Lizzy Mercier Descloux. All the underground hits.
All The Cowsills tracks. I heard you have a vinyl of every Morten Harket 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 güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
Sun City Girls,
Mo-Dettes,
The Cure,
Rowland S Howard / Lydia Lunch,
Erasure,
Public Enemy,
Aswad,
Pet Shop Boys,
Y Pants,
Barry Ungar,
Vainqueur,
Kings Of Tomorrow,
Captain Beefheart & His Magic Band,
The Knickerbockers,
Anakelly,
Cameo,
The Remains,
Aaron Thompson,
Roger Hodgson,
Brick,
Moby Grape,
James Chance & The Contortions,
Ornette Coleman,
DeepChord presents Echospace,
Slick Rick,
Grandmaster Flash and the Furious Five,
Mary Jane Girls,
the Bar-Kays,
Fifty Foot Hose,
Jawbox,
Deutsch Amerikanische Freundschaft,
Richard Hell and the Voidoids,
The Alarm Clocks,
The Selecter,
Icehouse,
Desert Stars,
Andrew Hill,
The Gories,
Siouxsie and the Banshees,
Rhythm & Sound,
Spandau Ballet,
Roxette,
It's A Beautiful Day,
Dead Boys,
The Index,
Skaos,
Young Marble Giants,
K-Klass,
Kurtis Blow,
Roy Ayers,
Gong,
Toni Rubio,
Adolescents,
Slave,
Intrusion,
Ken Boothe,
Pulsallama,
Stetsasonic,
Crash Course in Science,
Avey Tare,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.