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 Nepal and from Salvador.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Manila.
I'm losing my edge to the art-school Paris 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Sparks to the grime 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 Lou Reed & Metallica. All the underground hits.
All Lonnie Liston Smith tracks. I heard you have a vinyl of every Public Image Ltd. 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 '50s cut and another box set from the '70s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Lyres record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hoover,
Agent Orange,
World's Most,
Basic Channel,
Wally Richardson,
The Toasters,
Das Ding,
Red Lorry Yellow Lorry,
Josef K,
Richard Hell and the Voidoids,
Kurtis Blow,
The Doobie Brothers,
The Leaves,
Clear Light,
The Sonics,
Leonard Cohen,
Circle Jerks,
Aloha Tigers,
UT,
The Electric Prunes,
Reuben Wilson,
Bang On A Can,
Kerri Chandler,
B.T. Express,
Suburban Knight,
Unrelated Segments,
Quadrant,
E-Dancer,
Roger Hodgson,
Laurel Aitken,
Jesper Dahlbäck,
Gong,
Peter & Gordon,
PIL,
Pere Ubu,
Livin' Joy,
Fifty Foot Hose,
Soft Cell,
The Techniques,
Yusef Lateef,
Young Marble Giants,
Peter Gordon & Love of Life Orchestra,
The West Coast Pop Art Experimental Band,
The Star Department,
Harmonia,
EPMD,
Heavy D & The Boyz,
The Monochrome Set,
Delon & Dalcan,
Make Up,
Grauzone,
Roy Ayers Ubiquity,
Grey Daturas,
The Offenders,
The Neon Judgement,
Popol Vuh,
Easy Going,
Wolf Eyes,
Peter and Kerry,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.