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 Solomon Islands and from Shanghai.
But I was there.
I was there in 1980.
I was there at the first Cybotron 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 1963 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Delhi.
I'm losing my edge to the art-school Copenhagen 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 harpsichord 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 Hardrive to the electroclash kids.
I played it at the Hacienda.
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 Magma. All the underground hits.
All L. Decosne tracks. I heard you have a vinyl of every Make Up record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Tears for Fears record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
MC5,
Freddie Wadling,
Nick Fraelich,
Lou Reed,
Make Up,
Super Lover Cee & Casanova Rud,
Mad Mike,
Porter Ricks,
Captain Beefheart & His Magic Band,
Al Stewart,
Masters at Work,
The American Breed,
UT,
John Holt,
Hoover,
Technova,
Michelle Simonal,
One Last Wish,
Marine Girls,
Louis and Bebe Barron,
The Slackers,
Pet Shop Boys,
Be Bop Deluxe,
Reuben Wilson,
Franke,
Yusef Lateef,
Lonnie Liston Smith,
Brothers Johnson,
Letta Mbulu,
Monks,
Crispy Ambulance,
Althea and Donna,
Archie Shepp,
The Red Krayola,
Sun Ra Arkestra,
Ornette Coleman,
Newcleus,
Main Source,
Television,
Byron Stingily,
The Gap Band,
Glenn Branca,
The Fall,
John Lydon,
Teenage Jesus and the Jerks,
the Fania All-Stars,
Maurizio,
The Peanut Butter Conspiracy,
London Community Gospel Choir,
Bob Dylan,
Delta 5,
Gary Puckett & The Union Gap,
Erykah Badu,
Eric Copeland,
Juan Atkins,
The Walker Brothers,
The Associates,
Q65,
David McCallum,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.