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 United Kingdom and from Shanghai.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1977.
I'm losing my edge.
To all the kids in New York and Lille.
I'm losing my edge to the art-school Manchester 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 arpeggiator sounds with much patience.
I was there when Nile Rodgers 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 Barracudas to the rock kids.
I played it at the Troubador.
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 Roger Hodgson. All the underground hits.
All Neil Young tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal punk 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 snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Tim Buckley record.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Surgeon,
Buzzcocks,
Cymande,
Gabor Szabo,
Little Man,
Eddi Front,
Fatback Band,
Fear,
Black Moon,
Reagan Youth,
The Fortunes,
The Mojo Men,
Chris Corsano,
Minnie Riperton,
Tubeway Army,
Notorious BIG live in Amsterdam,
Blossom Toes,
Barclay James Harvest,
The Victims,
Warren Ellis,
Ralphi Rosario,
Kool Moe Dee,
Clear Light,
Danielle Patucci,
Public Enemy,
Marc Romboy vs. Booka Shade,
Be Bop Deluxe,
Amon Düül,
Aural Exciters,
Jacob Miller,
Brand Nubian,
Robert Görl,
The Flesh Eaters,
Ten City,
The Busters,
Wire,
New York Dolls,
Harmonia,
KRS-One,
Boogie Down Productions,
Cybotron,
Jacques Brel,
Lee Hazlewood,
Bootsy's Rubber Band,
Adolescents,
The Monochrome Set,
Eric B and Rakim,
The Happenings,
Alphaville,
Silicon Teens,
The Five Americans,
Wally Richardson,
Procol Harum,
Boredoms,
Echospace,
Icehouse,
Kaleidoscope,
Country Joe & The Fish,
Interpol,
Simply Red,
Newcleus, Newcleus, Newcleus, Newcleus.
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.