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 Indonesia and from Accra.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1973.
I'm losing my edge.
To all the kids in Manchester and Tokyo.
I'm losing my edge to the art-school Edmonton 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 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 Traffic Nightmare to the dance 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 Johnny Osbourne. All the underground hits.
All The Knickerbockers tracks. I heard you have a vinyl of every The Cowsills record on German import.
I heard that you have a white label of every seminal rap 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 an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Bowie,
The Vogues,
Donald Byrd,
Banda Bassotti,
Franke,
Oblivians,
Ken Boothe,
Skaos,
DJ Sneak,
Q and Not U,
Godley & Creme,
Unrelated Segments,
The Standells,
Peter and Kerry,
Rhythim Is Rhythim,
UT,
Das Ding,
Fela Kuti,
Thompson Twins,
Laurel Aitken,
Tears for Fears,
Prince Buster,
Cybotron,
Terrestrial Tones,
Blake Baxter,
The Searchers,
PIL,
These Immortal Souls,
Eric B and Rakim,
Röyhkä ja Rättö ja Lehtisalo,
Junior Murvin,
The Offenders,
The Slackers,
Lou Christie,
the Sonics,
Darondo,
Robert Görl,
Electric Prunes,
The Fortunes,
Gil Scott-Heron & Brian Jackson,
Rakim,
Terry Callier,
Sixth Finger,
Barclay James Harvest,
Camron Feat. Memphis Bleek And Beenie Seigel,
Roxette,
the Swans,
Vladislav Delay,
Alison Limerick,
Easy Going,
Clear Light,
Section 25,
Heaven 17,
Tropical Tobacco,
Camberwell Now,
Kauko Röyhkä ja Narttu,
Jerry Gold Smith,
Orchestral Manoeuvres in the Dark,
The Star Department,
48th St. Collective,
Sun Ra,
Joensuu 1685,
Warsaw, Warsaw, Warsaw, Warsaw.
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.