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 Liechtenstein and from Mexico City.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Bologna and Taipei.
I'm losing my edge to the art-school Salvador 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 harpsichord 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 Jacques Brel to the disco 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 Isaac Hayes. All the underground hits.
All Television tracks. I heard you have a vinyl of every Spandau Ballet 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 a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Offenders record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yellowson,
Stereo Dub,
Joe Smooth,
Hashim,
Japan,
Massinfluence,
Arthur Verocai,
Eurythmics,
Sonic Youth,
Henry Cow,
Basic Channel,
Nils Olav,
DJ Sneak,
Make Up,
Ultimate Spinach,
The Searchers,
Fat Boys,
These Immortal Souls,
The Remains,
Absolute Body Control,
Q and Not U,
Girls At Our Best!,
The Fall,
Terrestrial Tones,
Tom Boy,
Bronski Beat,
Kevin Saunderson,
Graham Central Station,
London Community Gospel Choir,
Tim Buckley,
Zero Boys,
The Dead C,
Drexciya,
Kurtis Blow,
The Invisible,
Mars,
The Mummies,
Rekid,
Sight & Sound,
The Index,
Gil Scott-Heron & Brian Jackson,
Crispian St. Peters,
U.S. Maple,
The Music Machine,
Crispy Ambulance,
Ultramagnetic MC's,
De La Soul & Jungle Brothers,
June of 44,
Skarface,
Funky Four + One,
Trumans Water,
Hot Snakes,
Eddi Front,
Donald Byrd,
PIL,
Sun City Girls,
Urselle,
Technova,
Royal Trux,
The Litter,
the Soft Cell,
Circle Jerks, Circle Jerks, Circle Jerks, Circle Jerks.
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.