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 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 1960 to 1972.
I'm losing my edge.
To all the kids in Columbus and Madrid.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the organ 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 The Monochrome Set to the jazz kids.
I played it at the Astoria.
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 Count Five. All the underground hits.
All Tropical Tobacco tracks. I heard you have a vinyl of every Quadrant 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 '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Vogues record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Nas,
Hot Snakes,
Louis and Bebe Barron,
Subhumans,
Panda Bear,
The Searchers,
Marine Girls,
Gabor Szabo,
Country Joe & The Fish,
Mars,
Das Ding,
Sound Behaviour,
Jeff Lynne,
Depeche Mode,
Richard Hell and the Voidoids,
Arcadia,
The Stooges,
Lou Reed & Metallica,
Bobby Hutcherson,
Alton Ellis,
Fort Wilson Riot,
Barbara Tucker,
The Detroit Cobras,
Theoretical Girls,
Underground Resistance,
Cymande,
10cc,
Dual Sessions,
Nils Olav,
Groovy Waters,
Bob Dylan,
Steve Hackett,
La Düsseldorf,
Soft Cell,
Joy Division,
Wighnomy Brothers & Robag Wruhme,
Flash Fearless,
Tommy Roe,
Funkadelic,
Icehouse,
The Raincoats,
Barrington Levy,
Dark Day,
Bill Wells,
Lee Hazlewood,
Lyres,
Skarface,
The American Breed,
The Remains,
Kool G Rap & DJ Polo,
The Real Kids,
James Chance & The Contortions,
Brand Nubian,
Echo & the Bunnymen,
Agent Orange,
The Dirtbombs,
Iggy Pop,
Gichy Dan,
Fela Kuti,
Desert Stars,
The Move, The Move, The Move, The Move.
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.