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 Singapore and from Salvador.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Glasgow and Lagos.
I'm losing my edge to the art-school Sao Paulo 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 Chic practice in a loft in New York.
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 Underground Resistance to the punk kids.
I played it at the Crocodile.
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 The Moleskins. All the underground hits.
All Maurizio tracks. I heard you have a vinyl of every Can 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 '60s cut and another box set from the '80s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sisters of Mercy,
The Gun Club,
Johnny Osbourne,
The Moleskins,
Throbbing Gristle,
Marvin Gaye,
The Jesus and Mary Chain,
Talk Talk,
Gil Scott Heron,
Sonic Youth,
It's A Beautiful Day,
Surgeon,
New Order,
Japan,
The United States of America,
8 Eyed Spy,
The Detroit Cobras,
Peter and Kerry,
Amazonics,
Letta Mbulu,
Barry Ungar,
Manfred Mann's Earth Band,
Gil Scott-Heron & Brian Jackson,
Ronan,
The Neon Judgement,
Deakin,
Stiv Bators,
Donald Byrd,
Hashim,
Henry Cow,
Soul II Soul,
Richard Hell and the Voidoids,
Röyhkä ja Rättö ja Lehtisalo,
Mark Hollis,
the Slits,
Kas Product,
Tom Boy,
Lucky Dragons,
Anakelly,
Eric B and Rakim,
The Selecter,
Pantytec,
Scott Walker,
Negative Approach,
The Dead C,
Crispian St. Peters,
Thinking Fellers Union Local 282,
Wolf Eyes,
Country Joe & The Fish,
Fear,
Aswad,
Zero Boys,
MDC,
Marshall Jefferson,
Duran Duran,
The Mighty Diamonds,
Avey Tare & Kría Brekkan,
Cabaret Voltaire,
The Chocolate Watch Band,
Popol Vuh,
Orchestral Manoeuvres in the Dark,
Magma,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.