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 Georgia and from Tehran.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Salvador and Toronto.
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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the spring reverb sounds with much patience.
I was there when Robert Palmer 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 Slick Rick to the dance 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 Drexciya. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every Grey Daturas record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a China Crisis record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angels of Light & Akron/Family,
Mars,
K-Klass,
Funky Four + One,
a-ha,
Bob Dylan,
AZ,
Nick Cave & The Bad Seeds,
The Dirtbombs,
Radio Birdman,
R.M.O.,
David Bowie,
Sight & Sound,
The Slackers,
Cabaret Voltaire,
Hasil Adkins,
Blake Baxter,
Hoover,
Bizarre Inc.,
Minor Threat,
Major Organ And The Adding Machine,
Selector Dub Narcotic,
The Seeds,
Mission of Burma,
Faust,
The Blues Magoos,
Aural Exciters,
Pantytec,
Crash Course in Science,
Gian Franco Pienzio,
Prince Buster,
Arthur Verocai,
Roxy Music,
Q and Not U,
Judy Mowatt,
Gastr Del Sol,
Los Fastidios,
Flipper,
Con Funk Shun,
Iggy Pop,
MDC,
Depeche Mode,
Heaven 17,
Notorious Big And Bone Thugs,
Ken Boothe,
Country Teasers,
Mark Hollis,
Duran Duran,
Parry Music,
Icehouse,
The Remains,
Warren Ellis,
Gil Scott Heron,
ABBA,
Pulsallama,
Peter and Kerry,
Kevin Saunderson,
Siouxsie and the Banshees,
Grandmaster Flash and the Furious Five,
The Buckinghams,
cv313,
The Moody Blues, The Moody Blues, The Moody Blues, The Moody Blues.
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.