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 Thailand and from Spokane.
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 1978.
I'm losing my edge.
To all the kids in Paris and Toronto.
I'm losing my edge to the art-school Hong Kong 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 at the first Suicide practice in a loft in New York.
I was working on the spring reverb 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 Connie Case to the funk 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 The Kinks. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every Vladislav Delay record on German import.
I heard that you have a white label of every seminal techno 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 mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Piero Umiliani record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gun Club,
Röyhkä ja Rättö ja Lehtisalo,
Fad Gadget,
Sound Behaviour,
Anthony Braxton,
The Detroit Cobras,
Sex Pistols,
Blancmange,
Circle Jerks,
Marine Girls,
Traffic Nightmare,
The Standells,
Roger Hodgson,
Agitation Free,
Heaven 17,
Barrington Levy,
Lou Christie,
Bang On A Can,
Minnie Riperton,
Joy Division,
The Move,
Sun City Girls,
Lucky Dragons,
Graham Central Station,
Eric Copeland,
Masters at Work,
The Electric Prunes,
Half Japanese,
Duran Duran,
The Raincoats,
Magazine,
Kenny Larkin,
Todd Rundgren,
Jerry's Kids,
Lindisfarne,
Skriet,
Louis and Bebe Barron,
The Gap Band,
Orchestral Manoeuvres in the Dark,
Scratch Acid,
Terrestrial Tones,
Alice Coltrane,
Godley & Creme,
Ice-T,
Nico,
Bobbi Humphrey,
Bobby Womack,
Deadbeat,
F. McDonald,
The Cosmic Jokers,
Lower 48,
The Modern Lovers,
The Mighty Diamonds,
Robert Görl,
A Certain Ratio,
Gabor Szabo,
Alton Ellis,
The Litter,
Althea and Donna,
Thompson Twins,
Easy Going,
La Düsseldorf,
Vladislav Delay,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.