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 France and from Madrid.
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 1967 to 1973.
I'm losing my edge.
To all the kids in London and Winnipeg.
I'm losing my edge to the art-school Manchester 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the rhodes 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 Josef K to the punk 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 Siouxsie and the Banshees. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Lyres record on German import.
I heard that you have a white label of every seminal crunk 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 güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
AZ,
Nico,
Lou Christie,
the Fania All-Stars,
Ronan,
Country Teasers,
The Count Five,
Electric Prunes,
The Durutti Column,
the Swans,
Judy Mowatt,
Quantec,
Con Funk Shun,
Idris Muhammad,
Avey Tare & Kría Brekkan,
Roger Hodgson,
Shuggie Otis,
Harmonia,
Harpers Bizarre,
Bizarre Inc.,
Tropical Tobacco,
Robert Wyatt,
Japan,
John Foxx,
Yazoo,
Stockholm Monsters,
Pere Ubu,
PIL,
Sam Rivers,
Camberwell Now,
Stetsasonic,
Laurel Aitken,
Camron Feat. Jay Z And Juelz,
The Beau Brummels,
Crash Course in Science,
Harry Pussy,
Zapp,
Nation of Ulysses,
Pole,
The Martian,
Glenn Branca,
Sonny Sharrock,
Spandau Ballet,
Flipper,
Yaz,
Sarah Menescal,
Scratch Acid,
Brothers Johnson,
Siglo XX,
The Cure,
Grauzone,
Arab on Radar,
Bill Near,
Roxy Music,
Roy Ayers,
Tim Buckley,
Porter Ricks,
Tom Boy,
Unrelated Segments,
The Last Poets,
The Index,
Ludus,
David Axelrod, David Axelrod, David Axelrod, David Axelrod.
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.