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 Guyana and from Sao Paulo.
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 1972.
I'm losing my edge.
To all the kids in Columbus and Philadelphia.
I'm losing my edge to the art-school Cairo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the guitar 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 Blancmange to the dance kids.
I played it at the 40 Watt.
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 Rufus Thomas. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Skriet 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Liliput record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wings,
Lebanon Hanover,
Wire,
The Busters,
Make Up,
Roy Ayers,
Rufus Thomas,
Intrusion,
MC5,
The Pretty Things,
Notorious Big And Bone Thugs,
Lakeside,
Audionom,
Q65,
The Smoke,
Nick Fraelich,
Janne Schatter,
D'Angelo,
Toni Rubio,
Jacques Brel,
Spandau Ballet,
Gian Franco Pienzio,
Warsaw,
Delon & Dalcan,
Sparks,
Eyeless In Gaza,
Accadde A,
Pantaleimon,
John Holt,
Angry Samoans,
The Last Poets,
The Leaves,
The Alarm Clocks,
The Gories,
Oppenheimer Analysis,
Loose Ends,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Hot Snakes,
Electric Light Orchestra,
The Sonics,
Charles Mingus,
Dual Sessions,
Arcadia,
Delta 5,
Jeru the Damaja,
The Toasters,
Buzzcocks,
the Swans,
Vainqueur,
Goldenarms,
The Misunderstood,
The Kinks,
Major Organ And The Adding Machine,
The Moleskins,
Sugar Minott,
Mantronix,
Flash Fearless,
Alice Coltrane,
Ultra Naté,
Erasure,
Gang of Four,
Scott Walker,
Lower 48, Lower 48, Lower 48, Lower 48.
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.