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 Nauru and from Lyon.
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 1975.
I'm losing my edge.
To all the kids in Beijing and Johannesburg.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin 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 Supertramp to the punk kids.
I played it at the Astoria.
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 Black Sheep. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Alison Limerick record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Slackers record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Ossler,
The Smoke,
The Raincoats,
The Gun Club,
Lalann,
Tom Boy,
Jesper Dahlback,
Deepchord,
World's Most,
Public Image Ltd.,
Electric Light Orchestra,
The Tremeloes,
Skriet,
Eurythmics,
The Gories,
Thee Headcoats,
The Durutti Column,
Roy Ayers Ubiquity,
Nils Olav,
Sexual Harrassment,
Make Up,
Jeff Mills,
John Holt,
FM Einheit,
Toni Rubio,
Chrome,
the Bar-Kays,
Lyres,
Lungfish,
Soul Sonic Force,
Banda Bassotti,
Alison Limerick,
Magazine,
The Grass Roots,
Tim Buckley,
La Düsseldorf,
Sällskapet,
Traffic Nightmare,
Lower 48,
Freddie Wadling,
Gil Scott-Heron & Brian Jackson,
Monks,
The Barracudas,
8 Eyed Spy,
DNA,
Idris Muhammad,
EPMD,
Shoche,
Pet Shop Boys,
Bang on a Can All-Stars,
Fatback Band,
Tomorrow,
The Sonics,
The Associates,
Ash Ra Tempel,
Trumans Water,
The Invisible,
Pierre Henry,
Skaos,
Electric Prunes,
Frankie Knuckles,
Laurel Aitken, Laurel Aitken, Laurel Aitken, Laurel Aitken.
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.