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 Belarus and from Sao Paulo.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Tehran and Tehran.
I'm losing my edge to the art-school Halifax 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 1984 at the first Arcadia practice in a loft in London.
I was working on the clarinet 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 Ituana 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 Mr. Review. All the underground hits.
All DNA tracks. I heard you have a vinyl of every Zero Boys record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Dawn Penn,
The Mojo Men,
Scion,
Howard Jones,
the Human League,
Amazonics,
Red Lorry Yellow Lorry,
Scratch Acid,
Talk Talk,
Icehouse,
Tomorrow,
Jeff Lynne,
Frankie Knuckles,
Piero Umiliani,
Severed Heads,
The Monochrome Set,
Neil Young & Crazy Horse,
the Germs,
Camron Feat. Memphis Bleek And Beenie Seigel,
Avey Tare,
Section 25,
Oneida,
Nick Cave & The Bad Seeds,
Public Image Ltd.,
Lebanon Hanover,
Mark Hollis,
The Modern Lovers,
the Slits,
Essential Logic,
The Star Department,
Sun City Girls,
Spoonie Gee,
Rapeman,
Bizarre Inc.,
Joe Finger,
The Blackbyrds,
Pantaleimon,
Dennis Brown,
Agitation Free,
Justin Hinds & The Dominoes,
Suburban Knight,
Bronski Beat,
Ice-T,
Isaac Hayes,
R.M.O.,
Thompson Twins,
Joensuu 1685,
The Young Rascals,
Shoche,
Bobby Byrd,
Hasil Adkins,
Silicon Teens,
ABC,
U.S. Maple,
Magazine,
Inner City,
Bad Manners,
Sunsets and Hearts,
Lungfish,
Prince Buster,
Lightning Bolt,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.