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 South Sudan and from Johannesburg.
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 1974.
I'm losing my edge.
To all the kids in Cairo and Sao Paulo.
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 1973 at the first Television practice in a loft in New York.
I was working on the guitar 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 Saccharine Trust to the techno 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 Camouflage. All the underground hits.
All the Human League tracks. I heard you have a vinyl of every Vladislav Delay record on German import.
I heard that you have a white label of every seminal electroclash 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 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Manfred Mann's Earth Band 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?
The Blues Magoos,
Public Image Ltd.,
Hashim,
Dual Sessions,
Hasil Adkins,
The Mojo Men,
The Last Poets,
Nik Kershaw,
Deadbeat,
Derrick Morgan,
Kevin Saunderson,
Country Teasers,
Rhythim Is Rhythim,
Pharaoh Sanders and the Fire Engines,
Swell Maps,
The Flesh Eaters,
JFA,
Aural Exciters,
Selector Dub Narcotic,
Reuben Wilson,
Duran Duran,
Althea and Donna,
Piero Umiliani,
Traffic Nightmare,
Jimmy McGriff,
Thinking Fellers Union Local 282,
The Moleskins,
Jeff Lynne,
Marc Romboy vs. Booka Shade,
Mission of Burma,
Joey Negro,
Lebanon Hanover,
Rod Modell,
Charles Mingus,
Gichy Dan,
Joyce Sims,
Outsiders,
Nico,
Major Organ And The Adding Machine,
Chris & Cosey,
Underground Resistance,
Darondo,
EPMD,
Crime,
Silicon Teens,
Hardrive,
H. Thieme,
Deutsch Amerikanische Freundschaft,
Bob Dylan,
Teenage Jesus and the Jerks,
Pylon,
Skriet,
Dennis Brown,
Rhythm & Sound,
Blake Baxter,
the Slits,
Nirvana,
The Slits,
Gabor Szabo,
Livin' Joy,
F. McDonald,
Warren Ellis,
The Toasters,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.