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 Vietnam and from Lagos.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Lille and Lille.
I'm losing my edge to the art-school Woodstock 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 snare 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 Ludus to the techno kids.
I played it at the Astoria.
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 T.S.O.L.. All the underground hits.
All Theoretical Girls tracks. I heard you have a vinyl of every Glambeats Corp. record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Bananas,
Sight & Sound,
Crispian St. Peters,
Rhythim Is Rhythim,
The Birthday Party,
Ituana,
Big Daddy Kane,
Art Ensemble Of Chicago,
The Busters,
Liaisons Dangereuses,
The Smoke,
The Offenders,
Little Man,
Quando Quango,
John Foxx,
Franke,
Reuben Wilson,
The Residents,
Aswad,
B.T. Express,
Roy Ayers Ubiquity,
Nick Fraelich,
Guru Guru,
Arcadia,
Kerrie Biddell,
Eddi Front,
Warren Ellis,
Kings Of Tomorrow,
Agitation Free,
Television,
Delon & Dalcan,
June Days,
Pylon,
Gang of Four,
Kool Moe Dee,
Crispy Ambulance,
Bootsy Collins,
Pharaoh Sanders and the Fire Engines,
Robert Hood,
The Alarm Clocks,
Susan Cadogan,
Buzzcocks,
Captain Beefheart & His Magic Band,
Pussy Galore,
Grandmaster Flash,
John Holt,
DeepChord presents Echospace,
Saccharine Trust,
Wally Richardson,
Skaos,
Newcleus,
Wings,
Quantec,
Malaria!,
Beasts of Bourbon,
H. Thieme,
Roy Ayers,
Chrome, Chrome, Chrome, Chrome.
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.