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 St Lucia and from Edmonton.
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 1973.
I'm losing my edge.
To all the kids in Lille and Lyon.
I'm losing my edge to the art-school Jakarta 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 1976 at the first Chic practice in a loft in New York.
I was working on the snare 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 The Invisible to the electroclash 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 Terrestrial Tones. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every Röyhkä ja Rättö ja Lehtisalo record on German import.
I heard that you have a white label of every seminal dance 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 spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Metal Thangz record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Average White Band,
Marshall Jefferson,
Rakim,
Kerrie Biddell,
Fugazi,
Pole,
Bad Manners,
The Motions,
The Birthday Party,
Connie Case,
Maleditus Sound,
Angry Samoans,
Goldenarms,
Brick,
Lebanon Hanover,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Alton Ellis,
Crispian St. Peters,
Nick Fraelich,
The Cure,
The Dirtbombs,
Siouxsie and the Banshees,
The Gap Band,
Pierre Henry,
Jandek,
Selector Dub Narcotic,
New Age Steppers,
Anakelly,
ABBA,
Urselle,
Kaleidoscope,
Bobby Hutcherson,
Anthony Braxton,
Erykah Badu,
Hot Snakes,
the Bar-Kays,
Japan,
The West Coast Pop Art Experimental Band,
Pulsallama,
Harry Pussy,
Fatback Band,
Guru Guru,
Fort Wilson Riot,
Absolute Body Control,
Bootsy Collins,
Marc Almond,
Minny Pops,
Darondo,
Gil Scott Heron,
Slick Rick,
Cabaret Voltaire,
Rotary Connection,
Tomorrow,
The Detroit Cobras,
Roger Hodgson,
Mo-Dettes,
Severed Heads,
Cluster,
The Standells,
The Toasters, The Toasters, The Toasters, The Toasters.
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.