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 Ireland and from Houston.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Lyon.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 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 Ultravox to the jazz 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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal rap 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 synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your güiro and bought a sitar.
I hear that you and your band have sold your sitar and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Outsiders,
Mission of Burma,
John Cale,
The Gun Club,
Essential Logic,
Lou Reed & Metallica,
Graham Central Station,
The Move,
Marc Romboy vs. Booka Shade,
Be Bop Deluxe,
Subhumans,
Lalo Schifrin,
Pylon,
Moss Icon,
Aaron Thompson,
Jeru the Damaja,
Gil Scott-Heron & Brian Jackson,
Basic Channel,
Altered Images,
Gang Gang Dance,
Archie Shepp,
Marmalade,
Mad Mike,
Aloha Tigers,
Minutemen,
Vaughan Mason & Crew,
The Vogues,
Masters at Work,
Peter & Gordon,
Crispian St. Peters,
Neil Young,
Jacques Brel,
The Leaves,
B.T. Express,
Flamin' Groovies,
The Cramps,
The Monochrome Set,
David McCallum,
Sunsets and Hearts,
Avey Tare,
Curtis Mayfield,
Monks,
Wings,
Mary Jane Girls,
The Kinks,
Scion,
Audionom,
Liliput,
Funkadelic,
Chris Corsano,
L. Decosne,
Jimmy McGriff,
Lebanon Hanover,
Lee Hazlewood,
The Busters,
Scientists,
The Happenings,
Beasts of Bourbon,
The Pop Group,
Charles Mingus, Charles Mingus, Charles Mingus, Charles Mingus.
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.