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 Hong Kong.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Lyon and Houston.
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 sitar sounds with much patience.
I was there when David Bowie 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 Flesh Eaters to the disco 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 The Fire Engines. All the underground hits.
All DJ Style tracks. I heard you have a vinyl of every Kool G Rap & DJ Polo 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 mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Gil Scott-Heron & Brian Jackson,
The Gories,
Panda Bear,
Moss Icon,
Josef K,
the Soft Cell,
Tears for Fears,
Section 25,
Cecil Taylor,
Manfred Mann's Earth Band,
Amon Düül II,
Oneida,
Be Bop Deluxe,
Ludus,
Eric B and Rakim,
Warsaw,
Lou Christie,
Easy Going,
Banda Bassotti,
The Victims,
Wings,
The Last Poets,
the Normal,
Saccharine Trust,
Black Pus,
John Foxx,
Isaac Hayes,
Hoover,
Khruangbin,
Albert Ayler,
DJ Style,
Stetsasonic,
Negative Approach,
Al Stewart,
Mission of Burma,
Roxette,
Fad Gadget,
The Alarm Clocks,
Kerri Chandler,
T. Rex,
Procol Harum,
Justin Hinds & The Dominoes,
Clear Light,
Los Fastidios,
Bronski Beat,
Art Ensemble Of Chicago,
The Skatalites,
Eurythmics,
Louis and Bebe Barron,
Rhythim Is Rhythim,
Symarip,
The Selecter,
Hot Snakes,
Kurtis Blow,
Howard Jones,
Gang Green,
Adolescents,
The Peanut Butter Conspiracy,
AZ,
Notorious Big And Bone Thugs,
Sällskapet,
Pussy Galore, Pussy Galore, Pussy Galore, Pussy Galore.
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.