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 Grenada and from London.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Mumbai and Taipei.
I'm losing my edge to the art-school Lyon 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 Feelies practice in a loft in Haledon.
I was working on the chamberlin 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 Alison Limerick to the punk kids.
I played it at CBGB's.
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 Kenny Larkin. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every Bluetip 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 '50s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Porter Ricks record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Oblivians,
Wighnomy Brothers & Robag Wruhme,
Skarface,
Peter Gordon & Love of Life Orchestra,
FM Einheit,
Tomorrow,
Unwound,
Sonny Sharrock,
Josef K,
The Cramps,
Colin Newman,
Metal Thangz,
the Normal,
The Dead C,
Derrick May,
Gerry Rafferty,
Gil Scott Heron,
Joy Division,
The Blackbyrds,
Jesper Dahlbäck,
Tommy Roe,
Be Bop Deluxe,
Bill Near,
Grandmaster Flash,
Marmalade,
E-Dancer,
Average White Band,
The West Coast Pop Art Experimental Band,
Justin Hinds & The Dominoes,
Kango’s Stein Massive,
Marine Girls,
Nils Olav,
Panda Bear,
Jeru the Damaja,
Rites of Spring,
The Royal Family And The Poor,
Joey Negro,
Barbara Tucker,
Laurel Aitken,
Half Japanese,
Harry Pussy,
Massinfluence,
ABC,
Crooked Eye,
Fluxion,
Heaven 17,
Unrelated Segments,
PIL,
Quadrant,
Eyeless In Gaza,
kango's stein massive,
Clear Light,
Cal Tjader,
Minor Threat,
Erykah Badu,
The Raincoats,
Bizarre Inc.,
Byron Stingily,
T.S.O.L.,
Heavy D & The Boyz,
Bootsy Collins,
Tres Demented,
Hardrive, Hardrive, Hardrive, Hardrive.
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.