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 Indonesia and from Houston.
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 1974.
I'm losing my edge.
To all the kids in Halifax and Cairo.
I'm losing my edge to the art-school Milan 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 synthesizer 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 Quantec to the rap kids.
I played it at Cafe Wha.
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 Johnny Clarke. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal grunge 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 guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare's Slasher Flicks record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Piero Umiliani,
Arcadia,
The Gap Band,
In Retrospect,
Danielle Patucci,
Young Marble Giants,
Hoover,
Funkadelic,
Dual Sessions,
Marvin Gaye,
The Kinks,
The Mojo Men,
Fat Boys,
Loose Ends,
The Gories,
Sonic Youth,
Lyres,
Archie Shepp,
Beasts of Bourbon,
Fluxion,
Eyeless In Gaza,
Rosa Yemen,
Negative Approach,
Yaz,
Unrelated Segments,
Section 25,
Gabor Szabo,
Sister Nancy,
Godley & Creme,
Bobby Byrd,
Shoche,
The American Breed,
Brothers Johnson,
Andrew Hill,
The Beau Brummels,
T. Rex,
Johnny Clarke,
Deutsch Amerikanische Freundschaft,
Josef K,
Bronski Beat,
Pantytec,
Grandmaster Flash and the Furious Five,
Jeff Lynne,
Amon Düül II,
Cheater Slicks,
The Slackers,
The Fortunes,
Röyhkä ja Rättö ja Lehtisalo,
Terrestrial Tones,
Orchestral Manoeuvres in the Dark,
Scion,
JFA,
Stiv Bators,
Au Pairs,
A Flock of Seagulls,
Sight & Sound,
Hot Snakes,
The Smoke,
The Birthday Party, The Birthday Party, The Birthday Party, The Birthday Party.
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.