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 South Africa and from Accra.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Hong Kong.
I'm losing my edge to the art-school Columbus 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 synthesizer 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 Intrusion to the electroclash kids.
I played it at the Spitz.
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 Y Pants. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Theoretical Girls 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
Boogie Down Productions,
The Walker Brothers,
Royal Trux,
Rakim,
The Gun Club,
The Wake,
The Sound,
Brass Construction,
Schoolly D,
Soulsonic Force,
This Heat,
Hot Snakes,
Jesper Dahlback,
the Sonics,
DeepChord presents Echospace,
Dorothy Ashby,
Ash Ra Tempel,
Roxette,
The Human League,
Motorama,
Fela Kuti,
Boz Scaggs,
Ohio Players,
Flipper,
New York Dolls,
Pharoah Sanders,
Matthew Bourne,
John Lydon,
DJ Sneak,
Dawn Penn,
Lungfish,
Desert Stars,
Delta 5,
Byron Stingily,
Bobby Hutcherson,
Chris & Cosey,
The Mojo Men,
Slave,
Barclay James Harvest,
Faraquet,
Groovy Waters,
The Detroit Cobras,
Bauhaus,
Kayak,
Kool G Rap & DJ Polo,
Tropical Tobacco,
Barry Ungar,
Tom Boy,
Monolake,
Ice-T,
Patti Smith,
Pole,
the Bar-Kays,
Jerry Gold Smith,
the Germs,
Avey Tare & Kría Brekkan,
One Last Wish,
The Cowsills,
Charles Mingus,
Lower 48,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.