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 Zambia and from Stockholm.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Portland and Calgary.
I'm losing my edge to the art-school Stockholm 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer sounds with much patience.
I was there when Lou Reed 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 Names to the punk kids.
I played it at Cafe Wha.
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 Throbbing Gristle. All the underground hits.
All Scott Walker tracks. I heard you have a vinyl of every The Alarm Clocks record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
The Jesus and Mary Chain,
Negative Approach,
Glambeats Corp.,
Tres Demented,
Black Bananas,
Supertramp,
Lonnie Liston Smith,
The Vogues,
CMW,
Lungfish,
Gang of Four,
Babytalk,
the Fania All-Stars,
Oneida,
The Skatalites,
The Martian,
Urselle,
Boogie Down Productions,
James Chance & The Contortions,
Davy DMX,
Adolescents,
Delta 5,
a-ha,
Liliput,
Niagra,
Gang Gang Dance,
Ituana,
The Invisible,
Smog,
Kool G Rap & DJ Polo,
Warren Ellis,
Crime,
Nation of Ulysses,
Ronnie Foster,
Skriet,
Albert Ayler,
Pylon,
The Fugs,
Bobby Hutcherson,
Gil Scott-Heron & Brian Jackson,
Pharaoh Sanders and the Fire Engines,
Juan Atkins,
Harmonia,
The Flesh Eaters,
Slick Rick,
Nick Cave & The Bad Seeds,
cv313,
Erasure,
Wire,
Brick,
Marvin Gaye,
Suicide,
Tropical Tobacco,
The Leaves,
Easy Going,
Gil Scott-Heron and Jamie xx,
The Blackbyrds,
Pere Ubu,
Vainqueur,
Ultimate Spinach,
Spandau Ballet,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.