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 Portugal and from Woodstock.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Lagos and Madrid.
I'm losing my edge to the art-school Tokyo 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 snare 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 Adolescents to the techno kids.
I played it at CBGB's.
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 Patti Smith. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every Funkadelic record on German import.
I heard that you have a white label of every seminal grunge 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 guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deadbeat,
Nils Olav,
Tim Buckley,
Alton Ellis,
Yazoo,
Subhumans,
Lyres,
Colin Newman,
Echospace,
Marcia Griffiths,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bootsy's Rubber Band,
It's A Beautiful Day,
Don Cherry,
David Axelrod,
Ronan,
Interpol,
cv313,
Porter Ricks,
The Kinks,
Nick Cave & The Bad Seeds,
Jerry's Kids,
Ornette Coleman,
Blancmange,
Skriet,
Negative Approach,
Avey Tare & Kría Brekkan,
Siouxsie and the Banshees,
Swans,
June Days,
Dave Gahan,
The Mummies,
Soft Machine,
The Pop Group,
Gerry Rafferty,
Sugar Minott,
Moebius,
Sight & Sound,
Gang of Four,
The Shadows of Knight,
Man Parrish,
Grandmaster Flash and the Furious Five,
Bang On A Can,
Marc Romboy vs. Booka Shade,
Fat Boys,
Television,
Reuben Wilson,
Black Bananas,
The Move,
Easy Going,
Juan Atkins,
The Sisters of Mercy,
Todd Terry,
Pierre Henry,
Eddi Front,
Isaac Hayes,
Spandau Ballet,
Jesper Dahlback,
Eyeless In Gaza,
Johnny Osbourne,
Franke,
the Bar-Kays,
Surgeon,
Liliput, Liliput, Liliput, Liliput.
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.