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 Ecuador and from Paris.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1968 to 1977.
I'm losing my edge.
To all the kids in Mumbai and Tehran.
I'm losing my edge to the art-school Tokyo 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 marimba 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 Robert Hood to the funk kids.
I played it at the Troubador.
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 Shuggie Otis. All the underground hits.
All Inner City tracks. I heard you have a vinyl of every The Modern Lovers record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Archie Shepp,
The Wake,
X-102,
Suicide,
The Last Poets,
The Moleskins,
Richard Hell and the Voidoids,
Arab on Radar,
Heavy D & The Boyz,
Eyeless In Gaza,
The Fall,
Liliput,
Alison Limerick,
Chris & Cosey,
Banda Bassotti,
Gian Franco Pienzio,
The Monochrome Set,
Pylon,
Deakin,
China Crisis,
Yusef Lateef,
UT,
JFA,
The Leaves,
Marmalade,
Jeff Lynne,
Connie Case,
Grandmaster Flash and the Furious Five,
Major Organ And The Adding Machine,
Mission of Burma,
the Soft Cell,
Motorama,
DNA,
New York Dolls,
Crime,
Scott Walker,
The Associates,
Laurel Aitken,
Brass Construction,
The Index,
Guru Guru,
Agent Orange,
Icehouse,
Rotary Connection,
Vladislav Delay,
Bizarre Inc.,
The Doobie Brothers,
Crooked Eye,
Camouflage,
Brothers Johnson,
It's A Beautiful Day,
The American Breed,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Eric Copeland,
The Moody Blues,
The Seeds,
X-101,
Hot Snakes,
The Gap Band,
The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band, The West Coast Pop Art Experimental Band.
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.