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 Georgia and from Portland.
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 1971.
I'm losing my edge.
To all the kids in Manchester and Johannesburg.
I'm losing my edge to the art-school Spokane 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb 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 London Community Gospel Choir to the funk 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 Neu!. All the underground hits.
All Gang of Four tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal dance 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 chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Little Man record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronan,
Can,
Absolute Body Control,
Oblivians,
Sister Nancy,
The Residents,
The Five Americans,
Alphaville,
Surgeon,
Judy Mowatt,
Pere Ubu,
Kevin Saunderson,
ABC,
The Dave Clark Five,
Cameo,
Lou Reed,
Warren Ellis,
The Sound,
James White and The Blacks,
Funkadelic,
The Smiths,
John Coltrane,
Mandrill,
Gil Scott-Heron and Jamie xx,
Severed Heads,
Tears for Fears,
ABBA,
cv313,
Oppenheimer Analysis,
It's A Beautiful Day,
Ossler,
Kenny Larkin,
F. McDonald,
Strawberry Alarm Clock,
Excepter,
Marc Almond,
John Foxx,
Theoretical Girls,
One Last Wish,
Red Lorry Yellow Lorry,
Eyeless In Gaza,
Essential Logic,
Art Ensemble Of Chicago,
Roy Ayers,
Suburban Knight,
Cluster,
Gastr Del Sol,
Orchestral Manoeuvres in the Dark,
Liliput,
Kaleidoscope,
The Gories,
Little Man,
Sparks,
Robert Wyatt,
Grauzone,
The Wake,
DNA,
The Fugs,
David Bowie,
Dual Sessions,
The Associates,
Peter and Kerry, Peter and Kerry, Peter and Kerry, Peter and Kerry.
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.