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 Macedonia 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 1961 to 1970.
I'm losing my edge.
To all the kids in Beijing and Taipei.
I'm losing my edge to the art-school Bologna 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 Chic practice in a loft in New York.
I was working on the chamberlin 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 Hasil Adkins to the dance kids.
I played it at the Hacienda.
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 Stiv Bators. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Oneida record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your snare and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
UT,
Barbara Tucker,
The Sisters of Mercy,
Depeche Mode,
The West Coast Pop Art Experimental Band,
Hoover,
Patti Smith,
Niagra,
The Skatalites,
Pole,
The Associates,
James White and The Blacks,
Lou Reed & John Cale,
Royal Trux,
The Toasters,
Amon Düül,
Barry Ungar,
The Dead C,
Pierre Henry,
The Gun Club,
Harry Pussy,
Accadde A,
Ronnie Foster,
The Alarm Clocks,
Red Lorry Yellow Lorry,
Cecil Taylor,
The Happenings,
Ralphi Rosario,
Lonnie Liston Smith,
Rapeman,
Althea and Donna,
Suburban Knight,
Lebanon Hanover,
Röyhkä ja Rättö ja Lehtisalo,
Public Image Ltd.,
Brass Construction,
Tom Boy,
Pantytec,
Second Layer,
Chris & Cosey,
the Bar-Kays,
The Monks,
Barclay James Harvest,
David McCallum,
JFA,
Susan Cadogan,
Kerrie Biddell,
The Gap Band,
Sly & The Family Stone,
Jawbox,
LL Cool J,
Gang Starr,
Arab on Radar,
Todd Terry,
Stiv Bators,
Lou Reed & Metallica,
the Soft Cell,
Matthew Halsall,
Dr. Dre and Snoop Doggy Dog,
Infiniti,
Grandmaster Flash, Grandmaster Flash, Grandmaster Flash, Grandmaster Flash.
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.