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 Angola and from Portland.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Salvador.
I'm losing my edge to the art-school Toronto 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 1973 at the first Television practice in a loft in New York.
I was working on the theremin 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 Flipper to the dance kids.
I played it at the Crocodile.
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 Glenn Branca. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Bootsy's Rubber Band 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 '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Trumans Water,
Sarah Menescal,
Matthew Halsall,
The Fire Engines,
The Litter,
Crime,
Animal Collective,
Gian Franco Pienzio,
Fort Wilson Riot,
Lower 48,
Toni Rubio,
FM Einheit,
Peter & Gordon,
The Star Department,
Sister Nancy,
Rites of Spring,
Gil Scott-Heron and Jamie xx,
H. Thieme,
Moss Icon,
Joe Smooth,
Bronski Beat,
Ronnie Foster,
Quadrant,
June of 44,
Sound Behaviour,
Clear Light,
Ituana,
Henry Cow,
Icehouse,
Main Source,
Bill Near,
Beasts of Bourbon,
The Modern Lovers,
Infiniti,
The United States of America,
Grandmaster Flash,
Jacques Brel,
Michelle Simonal,
the Association,
The Techniques,
Spandau Ballet,
Tomorrow,
Aural Exciters,
Bizarre Inc.,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
World's Most,
Dorothy Ashby,
Carl Craig,
Echospace,
Johnny Osbourne,
Excepter,
Crash Course in Science,
Mantronix,
The Pop Group,
The Raincoats,
Fifty Foot Hose,
Jeff Lynne,
Agent Orange,
The Golliwogs,
Fat Boys,
Leonard Cohen,
The Jesus and Mary Chain,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.