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 Cape Verde and from Seoul.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Lille and Copenhagen.
I'm losing my edge to the art-school Hong Kong 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 güiro 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 Move to the techno kids.
I played it at Cafe Wha.
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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every The Cosmic Jokers 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 '70s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Peanut Butter Conspiracy,
Robert Wyatt,
Bronski Beat,
The Moleskins,
Gary Puckett & The Union Gap,
The Walker Brothers,
Gang Gang Dance,
Monolake,
Lightning Bolt,
Soul II Soul,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ornette Coleman,
Röyhkä ja Rättö ja Lehtisalo,
Vladislav Delay,
Malaria!,
U.S. Maple,
Vainqueur,
New Age Steppers,
Tom Boy,
Duran Duran,
Tropical Tobacco,
Oneida,
Blossom Toes,
Gil Scott Heron,
Johnny Clarke,
Godley & Creme,
Matthew Bourne,
Be Bop Deluxe,
The Sisters of Mercy,
The Alarm Clocks,
The Fire Engines,
The Men They Couldn't Hang,
Delta 5,
Von Mondo,
Toni Rubio,
The Raincoats,
The Saints,
Susan Cadogan,
Albert Ayler,
The Stooges,
Gerry Rafferty,
Man Parrish,
Iggy Pop,
Sparks,
Reagan Youth,
Stereo Dub,
Skaos,
Deepchord,
Barbara Tucker,
the Swans,
Janne Schatter,
Morten Harket,
Buzzcocks,
Section 25,
Don Cherry,
KRS-One,
Lou Christie,
The Divine Comedy,
Curtis Mayfield, Curtis Mayfield, Curtis Mayfield, Curtis Mayfield.
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.