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 Brunei and from Copenhagen.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Houston and Cairo.
I'm losing my edge to the art-school Copenhagen 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 spring reverb 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 Eric B and Rakim to the punk kids.
I played it at the 40 Watt.
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 Letta Mbulu. All the underground hits.
All Wasted Youth tracks. I heard you have a vinyl of every Mandrill 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Supertramp,
World's Most,
Robert Hood,
The Evens,
Kings Of Tomorrow,
ABBA,
F. McDonald,
Tears for Fears,
Lungfish,
Stetsasonic,
Sly & The Family Stone,
Judy Mowatt,
DJ Style,
The Chocolate Watch Band,
Graham Central Station,
Larry & the Blue Notes,
Roxette,
Visage,
Leonard Cohen,
John Lydon,
Skriet,
Gerry Rafferty,
The Electric Prunes,
The Mighty Diamonds,
Skaos,
The J.B.'s,
Desert Stars,
Eric B and Rakim,
Livin' Joy,
The Leaves,
Country Joe & The Fish,
Accadde A,
Porter Ricks,
This Heat,
Reuben Wilson,
Dawn Penn,
The Remains,
Eurythmics,
Scan 7,
The Martian,
Agent Orange,
X-102,
Mary Jane Girls,
The Mojo Men,
Joe Smooth,
Eve St. Jones,
Captain Beefheart & His Magic Band,
Scott Walker + Sunn O))),
Richard Hell and the Voidoids,
Neu!,
The Invisible,
Avey Tare's Slasher Flicks,
Adolescents,
Outsiders,
The Last Poets,
Ossler,
Hot Snakes,
Minny Pops,
Depeche Mode,
Dorothy Ashby,
Robert Görl,
David McCallum,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.