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 Marshall Islands 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 1969 to 1971.
I'm losing my edge.
To all the kids in Halifax and Hong Kong.
I'm losing my edge to the art-school Accra 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 Feelies practice in a loft in Haledon.
I was working on the sitar 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 Matthew Halsall to the funk 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 Pantaleimon. All the underground hits.
All Sun Ra Arkestra tracks. I heard you have a vinyl of every Tomorrow 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Bourne,
Accadde A,
Kauko Röyhkä ja Narttu,
Bobby Sherman,
Flamin' Groovies,
Sister Nancy,
Carl Craig,
Joe Smooth,
Organ,
Shuggie Otis,
Sonic Youth,
The Moody Blues,
Section 25,
Girls At Our Best!,
Arthur Verocai,
Sound Behaviour,
Q and Not U,
Adolescents,
Marmalade,
Public Enemy,
PIL,
Oblivians,
Graham Central Station,
Don Cherry,
Sonny Sharrock,
Black Sheep,
Larry & the Blue Notes,
Mars,
Bang on a Can All-Stars,
Ultravox,
Brand Nubian,
Half Japanese,
Howard Jones,
Glambeats Corp.,
Barry Ungar,
Stockholm Monsters,
Max Romeo,
Dark Day,
Clear Light,
The J.B.'s,
the Germs,
Unrelated Segments,
Roger Hodgson,
The Human League,
Model 500,
Nils Olav,
Duran Duran,
Gichy Dan,
Lou Reed & Metallica,
Traffic Nightmare,
Index,
Guru Guru,
U.S. Maple,
Young Marble Giants,
The Beau Brummels,
Strawberry Alarm Clock,
Vladislav Delay,
Dawn Penn,
Bootsy Collins,
Yaz,
Marc Almond,
The Monks,
Pole,
Mantronix,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.