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 Qatar and from Columbus.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Mexico City and Paris.
I'm losing my edge to the art-school Columbus 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 at the first Suicide practice in a loft in New York.
I was working on the organ 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 Joe Finger to the techno kids.
I played it at CBGB's.
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 Alphaville. All the underground hits.
All Pantaleimon tracks. I heard you have a vinyl of every Sad Lovers and Giants record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Human League record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
Oppenheimer Analysis,
Dennis Brown,
Lizzy Mercier Descloux,
Graham Central Station,
Sight & Sound,
The American Breed,
Tomorrow,
Roger Hodgson,
Vladislav Delay,
Sugar Minott,
The Durutti Column,
Rowland S Howard / Lydia Lunch,
Girls At Our Best!,
Mark Hollis,
Jacques Brel,
Dead Boys,
Brothers Johnson,
Section 25,
ABBA,
Orchestral Manoeuvres in the Dark,
The Wake,
Black Pus,
Chris Corsano,
Gastr Del Sol,
Eurythmics,
cv313,
Lungfish,
Radio Birdman,
Scan 7,
Model 500,
Shuggie Otis,
Selector Dub Narcotic,
The Doors,
Accadde A,
Smog,
Von Mondo,
The Remains,
The Royal Family And The Poor,
The Evens,
Fluxion,
Yaz,
Bang on a Can All-Stars,
Matthew Halsall,
Babytalk,
The Techniques,
Scientists,
Procol Harum,
Soulsonic Force,
Brand Nubian,
Barclay James Harvest,
X-101,
The West Coast Pop Art Experimental Band,
The Pop Group,
Sandy B,
Josef K,
China Crisis,
Visage,
Mars,
F. McDonald,
Maleditus Sound,
Minutemen,
Andrew Hill,
The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds.
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.