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 Laos and from Salvador.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Paris and Tehran.
I'm losing my edge to the art-school Sao Paulo 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 güiro sounds with much patience.
I was there when Holger Czukay 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 Television to the rock 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 The Kinks. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Rakim record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
Stetsasonic,
Silicon Teens,
Freddie Wadling,
Terry Callier,
Japan,
Interpol,
Sonic Youth,
Soft Machine,
Outsiders,
Royal Trux,
Andrew Hill,
Jacob Miller,
Ultimate Spinach,
Blancmange,
Das Ding,
Teenage Jesus and the Jerks,
Manfred Mann's Earth Band,
Sight & Sound,
Franke,
Roy Ayers Ubiquity,
Television Personalities,
Josef K,
Ken Boothe,
Minor Threat,
Altered Images,
Pussy Galore,
Dawn Penn,
Brass Construction,
The Gladiators,
World's Most,
Aural Exciters,
the Human League,
Ronan,
Lightning Bolt,
X-Ray Spex,
Jesper Dahlbäck,
the Soft Cell,
Morten Harket,
Red Lorry Yellow Lorry,
Nils Olav,
Talk Talk,
Harmonia,
Wighnomy Brothers & Robag Wruhme,
Lizzy Mercier Descloux,
Isaac Hayes,
The Dirtbombs,
Ten City,
Henry Cow,
Nick Fraelich,
Lower 48,
Marine Girls,
It's A Beautiful Day,
Accadde A,
The Zeros,
Desert Stars,
Unwound,
Soul Sonic Force,
The Victims,
Kerrie Biddell,
David Axelrod,
Banda Bassotti,
The Dave Clark Five,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.