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 Papua New Guinea and from Lille.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Lille and Portland.
I'm losing my edge to the art-school Lille 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 güiro sounds with much patience.
I was there when Michael McDonald 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 Pylon to the rock 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 Adolescents. All the underground hits.
All Brick tracks. I heard you have a vinyl of every The Sisters of Mercy 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 '70s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a T.S.O.L. record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
Blancmange,
Morten Harket,
The Beau Brummels,
Super Lover Cee & Casanova Rud,
Max Romeo,
Lou Christie,
Judy Mowatt,
Reagan Youth,
Oppenheimer Analysis,
Eurythmics,
Outsiders,
Sällskapet,
Pagans,
Blossom Toes,
Excepter,
The United States of America,
Arthur Verocai,
The Busters,
Pierre Henry,
The Fall,
Lafayette Afro Rock Band,
Panda Bear,
Motorama,
Gregory Isaacs,
Jandek,
Quando Quango,
Lindisfarne,
The Durutti Column,
Yellowson,
Zero Boys,
Ohio Players,
Interpol,
Bronski Beat,
Skarface,
Clear Light,
Justin Hinds & The Dominoes,
Terry Callier,
Lower 48,
Tubeway Army,
Shoche,
Soft Cell,
UT,
Das Ding,
Marcia Griffiths,
Slick Rick,
The Gories,
Guru Guru,
Todd Terry,
Bad Manners,
Camron Feat. Jay Z And Juelz,
Oneida,
Avey Tare's Slasher Flicks,
Boredoms,
Nick Fraelich,
Graham Central Station,
Marc Almond,
Fugazi,
Howard Jones,
U.S. Maple,
Section 25, Section 25, Section 25, Section 25.
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.