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 Macedonia and from Shanghai.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Toronto and Johannesburg.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron 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 Delon & Dalcan to the techno kids.
I played it at the Astoria.
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 American Breed. All the underground hits.
All Iggy Pop tracks. I heard you have a vinyl of every Model 500 record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fugazi,
Scientists,
Eli Mardock,
The Fortunes,
Pete Rock & C.L. Smooth,
Avey Tare & Kría Brekkan,
JFA,
Kayak,
Deepchord,
Maleditus Sound,
Camouflage,
Soulsonic Force,
The Men They Couldn't Hang,
Prince Buster,
PIL,
The Move,
Camron Feat. Memphis Bleek And Beenie Seigel,
Tropical Tobacco,
Skriet,
Banda Bassotti,
Sparks,
The Barracudas,
Teenage Jesus and the Jerks,
X-101,
The Cosmic Jokers,
Röyhkä ja Rättö ja Lehtisalo,
Rakim,
The Mighty Diamonds,
June Days,
Grey Daturas,
The Modern Lovers,
Tres Demented,
Pantytec,
Janne Schatter,
Y Pants,
Second Layer,
Eden Ahbez,
Sonic Youth,
Thinking Fellers Union Local 282,
Kool G Rap & DJ Polo,
Fad Gadget,
Kas Product,
Mary Jane Girls,
The Moleskins,
Jawbox,
Lucky Dragons,
Notorious Big And Bone Thugs,
Tim Buckley,
Spoonie Gee,
Fat Boys,
Mantronix,
Audionom,
Sun Ra,
Jerry's Kids,
Shuggie Otis,
Los Fastidios,
Bronski Beat,
Interpol,
The Fall,
Bobby Byrd,
The Walker Brothers,
Nick Cave & The Bad Seeds,
Soft Cell,
John Coltrane,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.