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 El Salvador and from Stockholm.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Halifax.
I'm losing my edge to the art-school Houston 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 snare 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 Bad Manners to the punk kids.
I played it at the Crocodile.
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 Pussy Galore. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every David McCallum 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Fortunes record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Men They Couldn't Hang,
Amon Düül II,
Rites of Spring,
Kayak,
Rufus Thomas,
Visionaries,LMNO, T- Love & Iriscience,
Grandmaster Flash,
Kas Product,
The Slackers,
The Doors,
Warren Ellis,
Donny Hathaway,
Cluster,
Isaac Hayes,
A Flock of Seagulls,
Ralphi Rosario,
Crime,
James Chance & The Contortions,
Joensuu 1685,
Howard Jones,
Boredoms,
The Monochrome Set,
PIL,
Man Parrish,
David Bowie,
EPMD,
Wolf Eyes,
Stiv Bators,
L. Decosne,
Kango’s Stein Massive,
The Victims,
Bob Dylan,
Basic Channel,
Johnny Osbourne,
Derrick May,
Henry Cow,
Kerri Chandler,
Neil Young & Crazy Horse,
New Age Steppers,
Derrick Morgan,
Ponytail,
The Kinks,
Soft Cell,
Television Personalities,
The Cramps,
Massinfluence,
Robert Hood,
The Gun Club,
Bang on a Can All-Stars,
Delon & Dalcan,
Deutsch Amerikanische Freundschaft,
Pantaleimon,
Clear Light,
Major Organ And The Adding Machine,
Super Lover Cee & Casanova Rud,
Second Layer,
June of 44,
John Holt,
The Wake,
Alphaville, Alphaville, Alphaville, Alphaville.
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.