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 Djibouti and from Paris.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Manchester.
I'm losing my edge to the art-school Copenhagen 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the clarinet sounds with much patience.
I was there when Nile Rodgers 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 disco kids.
I played it at the Astoria.
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 Eli Mardock. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every The Music Machine record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your guitar and bought a snare.
I hear that you and your band have sold your snare and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Graham Central Station,
Cameo,
Bootsy's Rubber Band,
Moby Grape,
Q65,
Barclay James Harvest,
Symarip,
Lalo Schifrin,
Neil Young & Crazy Horse,
Lou Reed & John Cale,
The Music Machine,
Aaron Thompson,
Sam Rivers,
Sun Ra Arkestra,
The Fire Engines,
Rosa Yemen,
The Fugs,
La Düsseldorf,
Cecil Taylor,
Suicide,
Electric Prunes,
Art Ensemble Of Chicago,
Big Daddy Kane,
Easy Going,
The Shadows of Knight,
The Mojo Men,
Cheater Slicks,
James Chance & The Contortions,
Deakin,
The Peanut Butter Conspiracy,
Adolescents,
Fort Wilson Riot,
Television Personalities,
Lyres,
Drive Like Jehu,
Kurtis Blow,
Camouflage,
Gang Starr,
Kerrie Biddell,
Angry Samoans,
Technova,
The Zeros,
Sonny Sharrock,
Stockholm Monsters,
Camron Feat. Memphis Bleek And Beenie Seigel,
Drexciya,
Peter & Gordon,
Dark Day,
Howard Jones,
Rotary Connection,
X-102,
Freddie Wadling,
Johnny Clarke,
Radiopuhelimet,
The Index,
Pussy Galore,
Dawn Penn,
Crime,
The Electric Prunes,
Motorama,
Minor Threat,
The Modern Lovers,
Yellowson,
The Monochrome Set, The Monochrome Set, The Monochrome Set, The Monochrome Set.
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.