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 Peru and from Manila.
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 Winnipeg and Salvador.
I'm losing my edge to the art-school Madrid 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 1975 at the first Ubu practice in a loft in Cleveland.
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 Chrome to the rock 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 Graham Central Station. All the underground hits.
All Piero Umiliani tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Fat Boys,
Kenny Larkin,
Dr. Dre and Snoop Doggy Dog,
Circle Jerks,
The Zeros,
Blossom Toes,
Scion,
Deakin,
Rahsaan Roland Kirk,
Gil Scott-Heron and Jamie xx,
Kango’s Stein Massive,
Animal Collective,
Letta Mbulu,
Steve Hackett,
Newcleus,
Ajijia Myrayebe,
Dawn Penn,
Chris & Cosey,
Tres Demented,
The J.B.'s,
The Skatalites,
Organ,
Soft Cell,
Rapeman,
Manfred Mann's Earth Band,
Scratch Acid,
Todd Terry,
The Fortunes,
Cal Tjader,
Flipper,
The Selecter,
The Tremeloes,
Johnny Osbourne,
Robert Görl,
Oppenheimer Analysis,
Moby Grape,
Isaac Hayes,
Bobby Hutcherson,
Rhythm & Sound,
Hot Snakes,
X-101,
Fort Wilson Riot,
Joy Division,
Clear Light,
Dave Gahan,
The Fuzztones,
Skarface,
Guru Guru,
Visage,
PIL,
Accadde A,
The Mojo Men,
Crash Course in Science,
Rotary Connection,
A Certain Ratio,
Pantytec,
Pete Rock & C.L. Smooth,
The Fugs,
The Black Dice,
The Cowsills,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.