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 Macedonia and from Bremen.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Salvador and Manila.
I'm losing my edge to the art-school Mexico City 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 guitar sounds with much patience.
I was there when Donald Fagen 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 Letta Mbulu to the dance kids.
I played it at the Roxy.
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 Drexciya. All the underground hits.
All Echo & the Bunnymen tracks. I heard you have a vinyl of every Swans record on German import.
I heard that you have a white label of every seminal dance 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 an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Rekid record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grey Daturas,
Amon Düül,
Q and Not U,
Masters at Work,
Eurythmics,
A Flock of Seagulls,
Sticky Fingaz feat. Raekwon,
Dual Sessions,
The Misunderstood,
Pete Rock & C.L. Smooth,
Josef K,
Scratch Acid,
Popol Vuh,
Cymande,
The Pop Group,
Lindisfarne,
Bill Wells,
The Moody Blues,
Henry Cow,
Andrew Ashong & Theo Parrish,
The Angels of Light,
Flash Fearless,
Mantronix,
Loose Ends,
Soul Sonic Force,
The Birthday Party,
The Buckinghams,
The Human League,
Big Daddy Kane,
The Last Poets,
Spandau Ballet,
Eric Dolphy,
Los Fastidios,
The Peanut Butter Conspiracy,
Grandmaster Flash and the Furious Five,
Vainqueur,
In Retrospect,
Rakim,
Mark Hollis,
Eyeless In Gaza,
The Doobie Brothers,
The Invisible,
Toni Rubio,
Stiv Bators,
Glambeats Corp.,
Avey Tare's Slasher Flicks,
DJ Sneak,
The Smoke,
Country Teasers,
Sight & Sound,
Monolake,
Jacques Brel,
Mission of Burma,
Amazonics,
Das Ding,
Crooked Eye,
Zapp,
Robert Hood,
The Offenders,
Johnny Clarke,
Steve Hackett,
Technova,
Lakeside, Lakeside, Lakeside, Lakeside.
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.