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 Burkina and from Milan.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Milan and Beijing.
I'm losing my edge to the art-school Winnipeg 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 synthesizer 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 New Age Steppers to the dance kids.
I played it at the Troubador.
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 L. Decosne. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Yusef Lateef record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Kool G Rap & DJ Polo record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
the Slits,
Peter Gordon & Love of Life Orchestra,
Cybotron,
Black Sheep,
Kerri Chandler,
Porter Ricks,
Bobby Hutcherson,
Nick Fraelich,
Mandrill,
Iggy Pop,
Faust,
The Wake,
Marine Girls,
ABBA,
Henry Cow,
Unwound,
Livin' Joy,
Little Man,
Danielle Patucci,
T. Rex,
Excepter,
Faraquet,
The Monochrome Set,
Lyres,
Kings Of Tomorrow,
Joensuu 1685,
Siouxsie and the Banshees,
The Sonics,
Sound Behaviour,
Althea and Donna,
Pulsallama,
Bobby Sherman,
Y Pants,
Terrestrial Tones,
Eyeless In Gaza,
Ice-T,
Delon & Dalcan,
Index,
Nik Kershaw,
Man Eating Sloth,
Be Bop Deluxe,
Main Source,
Donny Hathaway,
The Tremeloes,
Peter and Kerry,
Sugar Minott,
Junior Murvin,
Minnie Riperton,
Kerrie Biddell,
Swell Maps,
U.S. Maple,
June of 44,
Blancmange,
Idris Muhammad,
Laurel Aitken,
Pagans,
Ultravox,
The Mummies, The Mummies, The Mummies, The Mummies.
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.