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 Laos and from Columbus.
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 1973.
I'm losing my edge.
To all the kids in Beijing and Salvador.
I'm losing my edge to the art-school Winnipeg 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 Soft Boys practice in a loft in Cambridge.
I was working on the linndrum 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 Swans to the funk 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 Monks. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every The Human League 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
Ultravox,
The Residents,
Lower 48,
The Standells,
Donny Hathaway,
Sly & The Family Stone,
La Düsseldorf,
The Invisible,
The Martian,
Von Mondo,
Desert Stars,
Lungfish,
Roxy Music,
Au Pairs,
Porter Ricks,
Tim Buckley,
Bush Tetras,
Minutemen,
Kurtis Blow,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Fortunes,
Soft Cell,
Pantytec,
Ajijia Myrayebe,
The Music Machine,
The Alarm Clocks,
Alphaville,
Man Parrish,
Letta Mbulu,
Teenage Jesus and the Jerks,
JFA,
Q65,
Gang Green,
CMW,
Rotary Connection,
Camron Feat. Jay Z And Juelz,
Nas,
Matthew Halsall,
Lou Christie,
Richard Hell and the Voidoids,
The Index,
Minnie Riperton,
The Dead C,
The Slackers,
DJ Style,
Fela Kuti,
The Pop Group,
Zero Boys,
Camberwell Now,
Can,
Röyhkä ja Rättö ja Lehtisalo,
The Leaves,
Selector Dub Narcotic,
Thee Headcoats,
Matthew Bourne,
UT,
Notorious Big And Bone Thugs,
Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra.
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.