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 Israel and from Tehran.
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 1961 to 1978.
I'm losing my edge.
To all the kids in London and Jakarta.
I'm losing my edge to the art-school London 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Richard Hell and the Voidoids 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 Franke. All the underground hits.
All the Normal tracks. I heard you have a vinyl of every Gil Scott Heron record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Sam Rivers record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
H. Thieme,
Amon Düül,
June of 44,
Lou Reed,
Intrusion,
Eyeless In Gaza,
The Gories,
Arthur Verocai,
The Divine Comedy,
Richard Hell and the Voidoids,
Whodini,
Ronan,
Crime,
The J.B.'s,
Roy Ayers,
Hoover,
David Axelrod,
Mission of Burma,
Manfred Mann's Earth Band,
Bobby Womack,
Jesper Dahlback,
Sarah Menescal,
Sad Lovers and Giants,
Brothers Johnson,
Kerri Chandler,
New Order,
Brand Nubian,
Eric B and Rakim,
Howard Jones,
the Association,
Agent Orange,
Tropical Tobacco,
Eden Ahbez,
Pierre Henry,
London Community Gospel Choir,
Kauko Röyhkä ja Narttu,
Scott Walker + Sunn O))),
The Pop Group,
Average White Band,
Outsiders,
DeepChord presents Echospace,
Jesper Dahlbäck,
The Modern Lovers,
The Motions,
The Beau Brummels,
Moebius,
Trumans Water,
Wolf Eyes,
Byron Stingily,
Joy Division,
Jawbox,
Matthew Bourne,
Dark Day,
JFA,
Hasil Adkins,
Fad Gadget,
Can,
Blake Baxter,
Juan Atkins,
Theoretical Girls,
Fat Boys,
Inner City,
Ituana, Ituana, Ituana, Ituana.
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.