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 Brazil and from Paris.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Delhi and Tehran.
I'm losing my edge to the art-school Madrid 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Minor Threat to the funk kids.
I played it at the Hacienda.
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 John Coltrane. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Audionom record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s 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 The Cure 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?
Minnie Riperton,
Swell Maps,
Marc Romboy vs. Booka Shade,
Swans,
10cc,
Amazonics,
Altered Images,
Pulsallama,
Severed Heads,
The Residents,
Rotary Connection,
Pierre Henry,
Banda Bassotti,
Lebanon Hanover,
The Searchers,
Gian Franco Pienzio,
Camberwell Now,
The Victims,
Chris Corsano,
ABBA,
Kayak,
Erykah Badu,
Beasts of Bourbon,
Amon Düül,
Jandek,
Skaos,
Pole,
Byron Stingily,
T.S.O.L.,
Grey Daturas,
Patti Smith,
Los Fastidios,
Kauko Röyhkä ja Narttu,
kango's stein massive,
The United States of America,
Dr. Dre and Snoop Doggy Dog,
Massinfluence,
Rapeman,
Bobby Byrd,
Notorious Big And Bone Thugs,
Joensuu 1685,
L. Decosne,
Wasted Youth,
Harmonia,
Black Moon,
Pantaleimon,
Cecil Taylor,
Freddie Wadling,
Half Japanese,
Eurythmics,
Grandmaster Flash,
48th St. Collective,
Symarip,
Lou Reed & John Cale,
New Order,
a-ha,
Anakelly,
Alphaville,
Bush Tetras,
The Fugs,
Gil Scott-Heron & Brian Jackson,
Audionom,
Nico,
Infiniti, Infiniti, Infiniti, Infiniti.
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.