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 Botswana and from Tokyo.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Houston.
I'm losing my edge to the art-school Taipei 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the mellotron sounds with much patience.
I was there when Robert Palmer 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 Blancmange to the electroclash 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 Peter & Gordon. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every Rapeman record on German import.
I heard that you have a white label of every seminal disco 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 guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ossler,
Lower 48,
The Angels of Light,
Nico,
Dark Day,
Metal Thangz,
Manfred Mann's Earth Band,
A Flock of Seagulls,
JFA,
Guru Guru,
Trumans Water,
New York Dolls,
Camron Feat. Memphis Bleek And Beenie Seigel,
Yusef Lateef,
Freddie Wadling,
Harry Pussy,
Shoche,
The Five Americans,
Con Funk Shun,
E-Dancer,
The Move,
Jerry's Kids,
Cymande,
Thompson Twins,
Barry Ungar,
Depeche Mode,
B.T. Express,
Jacques Brel,
Adolescents,
The Blues Magoos,
The Beau Brummels,
Aswad,
John Cale,
Wire,
Matthew Halsall,
The Star Department,
Theoretical Girls,
Swell Maps,
Animal Collective,
Jawbox,
Camron Feat. Jay Z And Juelz,
The Searchers,
Black Moon,
DNA,
The Sisters of Mercy,
Reuben Wilson,
Dr. Dre and Snoop Doggy Dog,
Gary Puckett & The Union Gap,
Todd Rundgren,
Minutemen,
The Men They Couldn't Hang,
Sam Rivers,
The Kinks,
Lalo Schifrin,
The Saints,
Mark Hollis,
Jeru the Damaja,
Roger Hodgson,
Rites of Spring,
Porter Ricks,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.