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 Denmark and from Lyon.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1976.
I'm losing my edge.
To all the kids in Glasgow and Edmonton.
I'm losing my edge to the art-school Bologna 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the spring reverb 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 Sugar Minott 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 Eric Copeland. All the underground hits.
All Ice-T tracks. I heard you have a vinyl of every Toni Rubio 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 '60s cut and another box set from the '70s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Finger,
Donald Byrd,
Negative Approach,
Inner City,
Pantytec,
Blossom Toes,
Kayak,
Letta Mbulu,
Sugar Minott,
The Fortunes,
the Bar-Kays,
Excepter,
Black Pus,
Joy Division,
H. Thieme,
Ronan,
Selector Dub Narcotic,
L. Decosne,
Andrew Ashong & Theo Parrish,
Arab on Radar,
E-Dancer,
Harmonia,
Silicon Teens,
Yaz,
Todd Rundgren,
Rotary Connection,
Pharoah Sanders,
Oppenheimer Analysis,
Vainqueur,
Carl Craig,
The Sonics,
David Bowie,
Prince Buster,
The Knickerbockers,
The Cosmic Jokers,
Dorothy Ashby,
Terrestrial Tones,
Ohio Players,
Warren Ellis,
Ten City,
Marvin Gaye,
Terry Callier,
Index,
the Slits,
Sunsets and Hearts,
Deadbeat,
Marcia Griffiths,
The Leaves,
Toni Rubio,
Joe Smooth,
Stetsasonic,
The United States of America,
Eyeless In Gaza,
Ultravox,
Kool G Rap & DJ Polo,
Lower 48,
10cc,
The Monks,
Boredoms,
Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282.
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.