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 Tuvalu and from Sao Paulo.
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 1960 to 1976.
I'm losing my edge.
To all the kids in New York and Paris.
I'm losing my edge to the art-school Tokyo 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the rhodes sounds with much patience.
I was there when Tom Verlaine 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 Marvin Gaye to the crunk kids.
I played it at the Roxy.
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 Vladislav Delay. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Derrick Morgan 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 '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Hoover record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minutemen,
Country Teasers,
Peter and Kerry,
Glenn Branca,
KRS-One,
Scratch Acid,
Mantronix,
B.T. Express,
The Neon Judgement,
the Human League,
The Peanut Butter Conspiracy,
Leonard Cohen,
The Vogues,
Funkadelic,
Lebanon Hanover,
Laurel Aitken,
Qualms,
The Fugs,
Peter & Gordon,
Sexual Harrassment,
The Kinks,
Average White Band,
Nils Olav,
Neu!,
The Gladiators,
Graham Central Station,
The Invisible,
Jandek,
The Remains,
The Count Five,
Charles Mingus,
ABC,
Warsaw,
Visage,
DJ Sneak,
Marc Romboy vs. Booka Shade,
Black Flag,
Grauzone,
Crash Course in Science,
DJ Style,
Sun City Girls,
Slick Rick,
Kool G Rap & DJ Polo,
X-Ray Spex,
The Victims,
Ultra Naté,
Tropical Tobacco,
The Cowsills,
Man Parrish,
R.M.O.,
Pantytec,
The West Coast Pop Art Experimental Band,
Drexciya,
Royal Trux,
Donald Byrd,
The Busters,
Jacques Brel,
Marine Girls,
Popol Vuh,
Gang Gang Dance,
Heavy D & The Boyz,
Excepter, Excepter, Excepter, Excepter.
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.