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 Uganda and from Calgary.
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 1971.
I'm losing my edge.
To all the kids in Jakarta and Madrid.
I'm losing my edge to the art-school Salvador 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 theremin sounds with much patience.
I was there when Lou Reed 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 Alphaville to the punk 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 The Seeds. All the underground hits.
All Sarah Menescal tracks. I heard you have a vinyl of every Mission of Burma record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Archie Shepp,
R.M.O.,
Section 25,
Gerry Rafferty,
Maleditus Sound,
a-ha,
Agitation Free,
Anthony Braxton,
The Black Dice,
Big Daddy Kane,
Sly & The Family Stone,
Juan Atkins,
T. Rex,
Jesper Dahlbäck,
Peter Gordon & Love of Life Orchestra,
Easy Going,
In Retrospect,
Kurtis Blow,
Sad Lovers and Giants,
Rufus Thomas,
The Cure,
The Wake,
Livin' Joy,
Ronan,
48th St. Collective,
Quadrant,
Lou Reed,
Selector Dub Narcotic,
The Gun Club,
Half Japanese,
Bizarre Inc.,
Ossler,
Ultravox,
EPMD,
Donald Byrd,
Cluster,
Pulsallama,
Ash Ra Tempel,
Eric Copeland,
DJ Sneak,
Siglo XX,
Siouxsie and the Banshees,
Thinking Fellers Union Local 282,
Chris Corsano,
The Royal Family And The Poor,
The Shadows of Knight,
Terror Squad Feat. Camron,
China Crisis,
Depeche Mode,
Joensuu 1685,
Blake Baxter,
John Holt,
The Doobie Brothers,
June of 44,
Fort Wilson Riot,
Tres Demented,
Skaos,
Grandmaster Flash,
World's Most,
The Angels of Light,
Neil Young & Crazy Horse,
The Birthday Party,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.