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 Barbados and from Columbus.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Lyon.
I'm losing my edge to the art-school Lagos 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 808 sounds with much patience.
I was there when Michael McDonald 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 Steve Hackett to the grunge 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 The Cowsills. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Joe Smooth record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Toasters record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
Richard Hell and the Voidoids,
Rhythim Is Rhythim,
The Cowsills,
Essential Logic,
Gabor Szabo,
Altered Images,
Brothers Johnson,
Can,
Henry Cow,
Alison Limerick,
Liaisons Dangereuses,
Soulsonic Force,
A Flock of Seagulls,
the Slits,
Marc Almond,
Notorious BIG live in Amsterdam,
Lakeside,
New York Dolls,
Arab on Radar,
LL Cool J,
Al Stewart,
Monks,
The Electric Prunes,
The Gap Band,
Ice-T,
Siouxsie and the Banshees,
Lalann,
Pulsallama,
Piero Umiliani,
Gang of Four,
Newcleus,
the Bar-Kays,
Bob Dylan,
Graham Central Station,
Aswad,
Arcadia,
The Misunderstood,
Sound Behaviour,
Main Source,
Rapeman,
Harpers Bizarre,
The Blues Magoos,
Notorious Big And Bone Thugs,
Fort Wilson Riot,
Mandrill,
Larry & the Blue Notes,
Danielle Patucci,
Electric Light Orchestra,
Clear Light,
The Fugs,
Justin Hinds & The Dominoes,
Be Bop Deluxe,
Pylon,
Sister Nancy,
Todd Terry,
Sexual Harrassment,
F. McDonald,
Angels of Light & Akron/Family,
Pet Shop Boys,
Desert Stars,
Interpol,
Rotary Connection,
Kurtis Blow, Kurtis Blow, Kurtis Blow, Kurtis Blow.
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.