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 Chad and from Milan.
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 1976.
I'm losing my edge.
To all the kids in Mexico City and Hong Kong.
I'm losing my edge to the art-school Paris 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 clarinet 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 Oblivians to the techno kids.
I played it at the Spitz.
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 Super Lover Cee & Casanova Rud. All the underground hits.
All Pantytec tracks. I heard you have a vinyl of every Massinfluence record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Marine Girls record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
Gil Scott Heron,
Goldenarms,
Lalo Schifrin,
Major Organ And The Adding Machine,
Fear,
Boredoms,
Blake Baxter,
Howard Jones,
Bang On A Can,
The Evens,
the Fania All-Stars,
Black Sheep,
Gil Scott-Heron & Brian Jackson,
Nick Fraelich,
Peter and Kerry,
The Smiths,
Accadde A,
Roy Ayers Ubiquity,
Joensuu 1685,
The Count Five,
Reagan Youth,
Kayak,
Adolescents,
Bootsy's Rubber Band,
U.S. Maple,
D'Angelo,
Art Ensemble Of Chicago,
K-Klass,
Severed Heads,
The Mighty Diamonds,
Ronan,
Louis and Bebe Barron,
Ituana,
Brand Nubian,
The Cosmic Jokers,
The Gun Club,
John Cale,
Hashim,
The Fuzztones,
Slave,
June of 44,
Joe Smooth,
Ultra Naté,
Marmalade,
Rosa Yemen,
June Days,
The Jesus and Mary Chain,
Kenny Larkin,
Oneida,
Cymande,
Zapp,
X-Ray Spex,
Max Romeo,
Young Marble Giants,
Peter Gordon & Love of Life Orchestra,
Half Japanese,
Lyres,
DJ Sneak,
Motorama,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.