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 Singapore and from Mexico City.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Winnipeg and London.
I'm losing my edge to the art-school Columbus 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 guitar sounds with much patience.
I was there when Lou Reed 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 Sugar Minott to the rap 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 Eurythmics. All the underground hits.
All Delta 5 tracks. I heard you have a vinyl of every Steve Hackett 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 '70s.
I hear you're buying a snare and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Alice Coltrane record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Suburban Knight,
the Fania All-Stars,
Pere Ubu,
The Five Americans,
Sun Ra,
K-Klass,
Andrew Ashong & Theo Parrish,
Moss Icon,
The Monks,
World's Most,
L. Decosne,
Hoover,
Larry & the Blue Notes,
Roy Ayers Ubiquity,
The Fire Engines,
kango's stein massive,
Harmonia,
June Days,
David Bowie,
Youth Brigade,
Sarah Menescal,
Peter and Kerry,
The Neon Judgement,
Goldenarms,
Nick Cave & The Bad Seeds,
The Blackbyrds,
John Foxx,
Radio Birdman,
Chris Corsano,
Jeff Lynne,
Gil Scott-Heron and Jamie xx,
Rotary Connection,
R.M.O.,
Deadbeat,
Pet Shop Boys,
Blake Baxter,
Marine Girls,
Stereo Dub,
Howard Jones,
Audionom,
Ice-T,
A Certain Ratio,
Piero Umiliani,
The Velvet Underground,
Nick Fraelich,
Erykah Badu,
Symarip,
Rakim,
the Normal,
Amon Düül II,
Wings,
The Fall,
Teenage Jesus and the Jerks,
The Names,
Eve St. Jones,
Scott Walker + Sunn O))),
Stiv Bators,
Gang of Four,
Juan Atkins,
The Red Krayola,
The Durutti Column,
The West Coast Pop Art Experimental Band,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.