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 Peru and from Halifax.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in London and Tehran.
I'm losing my edge to the art-school Toronto 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 harpsichord sounds with much patience.
I was there when Robert Palmer 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 K-Klass to the rap 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 Rhythm & Sound. All the underground hits.
All The Zeros tracks. I heard you have a vinyl of every Von Mondo record on German import.
I heard that you have a white label of every seminal dance 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 güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Index,
Strawberry Alarm Clock,
Todd Rundgren,
June of 44,
Porter Ricks,
Drive Like Jehu,
The West Coast Pop Art Experimental Band,
Roxy Music,
Sex Pistols,
Slave,
Ultravox,
The Doors,
Bobby Womack,
Nick Fraelich,
Marshall Jefferson,
Symarip,
Quando Quango,
Organ,
The Beau Brummels,
the Fania All-Stars,
Groovy Waters,
Soft Cell,
Henry Cow,
UT,
Delta 5,
Cheater Slicks,
Boogie Down Productions,
Slick Rick,
Sonny Sharrock,
Warsaw,
Mars,
Robert Hood,
Justin Hinds & The Dominoes,
Aaron Thompson,
The Red Krayola,
the Soft Cell,
Eli Mardock,
The Neon Judgement,
The Birthday Party,
Panda Bear,
Y Pants,
Nico,
The Vogues,
Roxette,
Flash Fearless,
Gang Gang Dance,
Alison Limerick,
Teenage Jesus and the Jerks,
Hashim,
Con Funk Shun,
Spandau Ballet,
Avey Tare,
Interpol,
David Axelrod,
The Pop Group,
Echo & the Bunnymen,
Ronnie Foster,
Aswad,
The Seeds,
DJ Style, DJ Style, DJ Style, DJ Style.
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.