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 Russia and from Milan.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Seoul.
I'm losing my edge to the art-school Cairo 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 chamberlin 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 T. Rex 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 Joe Smooth. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every Ultra Naté 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 '80s cut and another box set from the '90s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Brand Nubian record.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
The Slits,
Intrusion,
Brass Construction,
Cameo,
Audionom,
Vaughan Mason & Crew,
Stiv Bators,
Sex Pistols,
Boogie Down Productions,
Agitation Free,
In Retrospect,
Von Mondo,
Can,
The Count Five,
Cybotron,
Circle Jerks,
The Smoke,
Shuggie Otis,
Pussy Galore,
Index,
Half Japanese,
Al Stewart,
Nick Fraelich,
Oblivians,
It's A Beautiful Day,
Lou Reed,
Brothers Johnson,
Easy Going,
FM Einheit,
The Men They Couldn't Hang,
the Germs,
Lonnie Liston Smith,
The Gap Band,
The New Christs,
Mr. Review,
The Kinks,
Wire,
Japan,
Drexciya,
Bobbi Humphrey,
Lou Christie,
Whodini,
Curtis Mayfield,
John Cale,
Moss Icon,
Gang of Four,
Ponytail,
Section 25,
Jerry Gold Smith,
Kerrie Biddell,
Amazonics,
Beasts of Bourbon,
Scion,
Stetsasonic,
Sun Ra Arkestra,
Tubeway Army,
Nik Kershaw,
China Crisis,
The Evens,
Sunsets and Hearts,
Jesper Dahlbäck,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.