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 Tunisia and from Copenhagen.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Tehran.
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 at the first Suicide practice in a loft in New York.
I was working on the 808 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 Urselle 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 The Blackbyrds. All the underground hits.
All Flash Fearless tracks. I heard you have a vinyl of every Pantaleimon record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Mighty Diamonds record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Livin' Joy,
The Dead C,
The Raincoats,
Sparks,
Richard Hell and the Voidoids,
AZ,
New Order,
Rakim,
Henry Cow,
Country Joe & The Fish,
The Jesus and Mary Chain,
Alice Coltrane,
DJ Style,
The Searchers,
Nation of Ulysses,
Gerry Rafferty,
Pole,
Rites of Spring,
Tim Buckley,
Rahsaan Roland Kirk,
Brand Nubian,
Eric Copeland,
Andrew Hill,
Oneida,
Minutemen,
Fatback Band,
Mars,
Nas,
The Seeds,
Carl Craig,
Warren Ellis,
Ohio Players,
Piero Umiliani,
Pulsallama,
Supertramp,
Terry Callier,
Japan,
The Star Department,
Hashim,
The Index,
Faust,
Barclay James Harvest,
Heavy D & The Boyz,
The Smoke,
The Neon Judgement,
The Peanut Butter Conspiracy,
Sex Pistols,
Liaisons Dangereuses,
Albert Ayler,
Alton Ellis,
Peter & Gordon,
Robert Görl,
Circle Jerks,
Colin Newman,
The Gap Band,
Altered Images,
Severed Heads,
The Saints,
FM Einheit,
Aswad,
Gil Scott-Heron & Brian Jackson,
Loose Ends,
Be Bop Deluxe,
Accadde A, Accadde A, Accadde A, Accadde A.
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.