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 Albania and from Lille.
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 1974.
I'm losing my edge.
To all the kids in Jakarta and Cairo.
I'm losing my edge to the art-school Shanghai 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Nico to the electroclash 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 T. Rex. All the underground hits.
All Marine Girls tracks. I heard you have a vinyl of every Justin Hinds & The Dominoes record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Human League,
The Cramps,
Flamin' Groovies,
Sonny Sharrock,
World's Most,
Duran Duran,
Grauzone,
The Associates,
Kauko Röyhkä ja Narttu,
Bluetip,
The Raincoats,
Jesper Dahlback,
The Pretty Things,
Ash Ra Tempel,
Alton Ellis,
Dawn Penn,
Joyce Sims,
Pantytec,
The Toasters,
Black Pus,
The Smiths,
Anakelly,
Toni Rubio,
Rahsaan Roland Kirk,
Jandek,
Pole,
Massinfluence,
The Wake,
Angry Samoans,
Rowland S Howard / Lydia Lunch,
Deakin,
Quantec,
Visage,
Kool Moe Dee,
Isaac Hayes,
Charles Mingus,
Ponytail,
Lungfish,
Notorious Big And Bone Thugs,
X-101,
London Community Gospel Choir,
Sun Ra,
Dennis Brown,
Minor Threat,
Tears for Fears,
Harpers Bizarre,
the Normal,
PIL,
Man Parrish,
Rapeman,
Eric B and Rakim,
John Foxx,
Kayak,
Moebius,
Gil Scott Heron,
Sarah Menescal,
The Grass Roots,
James White and The Blacks,
Camberwell Now,
Maleditus Sound,
Siouxsie and the Banshees,
The Young Rascals,
Fat Boys,
This Heat, This Heat, This Heat, This Heat.
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.