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 Micronesia and from Houston.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Salvador and Lille.
I'm losing my edge to the art-school Toronto 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the harpsichord 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 D'Angelo to the rock kids.
I played it at the Roxy.
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 Dual Sessions. All the underground hits.
All Terrestrial Tones tracks. I heard you have a vinyl of every Warsaw 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Trojans,
Louis and Bebe Barron,
Wire,
Eden Ahbez,
La Düsseldorf,
UT,
Tom Boy,
Gong,
Kaleidoscope,
F. McDonald,
Kas Product,
Hardrive,
Barclay James Harvest,
Das Ding,
The Slackers,
It's A Beautiful Day,
Avey Tare & Kría Brekkan,
Traffic Nightmare,
DJ Style,
Gian Franco Pienzio,
Fugazi,
Gang Green,
Slick Rick,
Bad Manners,
Roxy Music,
Cabaret Voltaire,
Godley & Creme,
Suicide,
Lower 48,
Quantec,
Negative Approach,
Gregory Isaacs,
Subhumans,
Sister Nancy,
Circle Jerks,
MC5,
Black Bananas,
Neu!,
Lungfish,
Moby Grape,
Au Pairs,
The Tremeloes,
Urselle,
Flamin' Groovies,
Cluster,
The Pretty Things,
Prince Buster,
Soulsonic Force,
Ultravox,
the Sonics,
Davy DMX,
Donny Hathaway,
Excepter,
Harry Pussy,
Thompson Twins,
Easy Going,
Camron Feat. Memphis Bleek And Beenie Seigel,
Susan Cadogan,
Second Layer,
Ponytail,
Strawberry Alarm Clock,
The Detroit Cobras,
The Happenings,
Minny Pops, Minny Pops, Minny Pops, Minny Pops.
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.