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 Mexico and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1964 to 1974.
I'm losing my edge.
To all the kids in London and Milan.
I'm losing my edge to the art-school Philadelphia 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 The United States of America to the techno kids.
I played it at the 40 Watt.
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 Mission of Burma. All the underground hits.
All Oblivians tracks. I heard you have a vinyl of every Matthew Bourne record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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 Neon Judgement,
David Axelrod,
Derrick Morgan,
Terrestrial Tones,
10cc,
Hot Snakes,
The Mighty Diamonds,
Lyres,
Section 25,
The Doors,
Leonard Cohen,
Scion,
Sam Rivers,
Angels of Light & Akron/Family,
Frankie Knuckles,
Oppenheimer Analysis,
Archie Shepp,
Ajijia Myrayebe,
Depeche Mode,
Suburban Knight,
Godley & Creme,
The Moody Blues,
Brass Construction,
Camouflage,
Mandrill,
Marc Almond,
Youth Brigade,
Grandmaster Flash,
The Human League,
Jesper Dahlback,
Stereo Dub,
Joe Smooth,
Eddi Front,
Boredoms,
Notorious Big And Bone Thugs,
The Motions,
Angry Samoans,
Dorothy Ashby,
Urselle,
Dual Sessions,
Camberwell Now,
The Litter,
Amon Düül II,
Clear Light,
Steve Hackett,
Eurythmics,
Harry Pussy,
Sad Lovers and Giants,
Young Marble Giants,
The Names,
Strawberry Alarm Clock,
Marvin Gaye,
These Immortal Souls,
Quando Quango,
Kings Of Tomorrow,
Lou Reed & Metallica,
Neu!,
The Cure,
Kerrie Biddell,
London Community Gospel Choir,
Public Enemy,
The Smoke, The Smoke, The Smoke, The Smoke.
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.