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 Costa Rica and from Lagos.
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 1961 to 1978.
I'm losing my edge.
To all the kids in London and Mexico City.
I'm losing my edge to the art-school Seoul 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 arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Louis and Bebe Barron to the punk kids.
I played it at the Spitz.
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 Liliput. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Maurizio record on German import.
I heard that you have a white label of every seminal electroclash 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 rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Derrick May record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
The Count Five,
The Jesus and Mary Chain,
Rotary Connection,
Johnny Clarke,
Todd Rundgren,
Ash Ra Tempel,
The Motions,
Rod Modell,
Wally Richardson,
Henry Cow,
Major Organ And The Adding Machine,
Bill Near,
The Fortunes,
X-Ray Spex,
Kings Of Tomorrow,
Eric B and Rakim,
The Seeds,
Sun City Girls,
Ultra Naté,
Sparks,
Manfred Mann's Earth Band,
Davy DMX,
Art Ensemble Of Chicago,
E-Dancer,
the Swans,
Accadde A,
Neu!,
Echo & the Bunnymen,
Visage,
The Grass Roots,
10cc,
The Zeros,
Radio Birdman,
the Human League,
Shuggie Otis,
Ponytail,
Neil Young,
The Sisters of Mercy,
Japan,
Tim Buckley,
Marshall Jefferson,
Suburban Knight,
Morten Harket,
Essential Logic,
MC5,
Symarip,
The Electric Prunes,
Terrestrial Tones,
Jacques Brel,
The Slits,
Gang of Four,
Robert Wyatt,
Bauhaus,
Marmalade,
Model 500,
Lizzy Mercier Descloux,
Bob Dylan,
Wolf Eyes,
Warsaw,
Dead Boys,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.