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 Laos and from Lyon.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Cairo and Mumbai.
I'm losing my edge to the art-school Mexico City 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 güiro sounds with much patience.
I was there when Holger Czukay 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 The Cure to the crunk kids.
I played it at Trash.
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 The Chocolate Watch Band. All the underground hits.
All Drexciya tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal punk 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 sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Happenings 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?
Peter Gordon & Love of Life Orchestra,
Accadde A,
The Real Kids,
Dennis Brown,
Neil Young,
June Days,
Johnny Clarke,
Skriet,
The Litter,
Skaos,
Electric Light Orchestra,
The Black Dice,
Curtis Mayfield,
the Swans,
Minny Pops,
Popol Vuh,
Sarah Menescal,
Peter and Kerry,
Livin' Joy,
The Divine Comedy,
The Chocolate Watch Band,
the Association,
The Trojans,
Alton Ellis,
Peter & Gordon,
Theoretical Girls,
Stiv Bators,
Big Daddy Kane,
Pierre Henry,
The Standells,
Model 500,
Soul II Soul,
The Moleskins,
Roxy Music,
The Tremeloes,
Alison Limerick,
The Cramps,
Andrew Hill,
Rowland S Howard / Lydia Lunch,
The Motions,
Alice Coltrane,
Vainqueur,
Q65,
World's Most,
Maleditus Sound,
Cluster,
the Bar-Kays,
Monks,
Eric Copeland,
Joey Negro,
Derrick Morgan,
Los Fastidios,
Wings,
Yaz,
Roger Hodgson,
A Flock of Seagulls,
Simply Red,
Lou Reed & Metallica,
Half Japanese,
David Axelrod,
Gary Puckett & The Union Gap,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.