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 Mexico and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 London and Taipei.
I'm losing my edge to the art-school Lyon 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 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 Zapp to the punk kids.
I played it at the Crocodile.
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 Amon Düül. All the underground hits.
All The Human League tracks. I heard you have a vinyl of every Ken Boothe record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Lalann record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
Idris Muhammad,
Ronnie Foster,
Chris & Cosey,
Kenny Larkin,
Crooked Eye,
The Real Kids,
The Skatalites,
Audionom,
Sight & Sound,
Massinfluence,
The Men They Couldn't Hang,
Bootsy's Rubber Band,
D'Angelo,
London Community Gospel Choir,
Electric Light Orchestra,
Accadde A,
The Doors,
Slave,
Warsaw,
Joey Negro,
John Holt,
Eurythmics,
R.M.O.,
Sixth Finger,
Bootsy Collins,
Crime,
Derrick May,
Neil Young & Crazy Horse,
Franke,
Rapeman,
The Grass Roots,
The Slits,
Terrestrial Tones,
John Coltrane,
Man Parrish,
The Star Department,
Jawbox,
Shuggie Otis,
The Blackbyrds,
Frankie Knuckles,
New Order,
Little Man,
Cabaret Voltaire,
Trumans Water,
Clear Light,
The Sisters of Mercy,
It's A Beautiful Day,
Michelle Simonal,
Kerrie Biddell,
Ornette Coleman,
Mission of Burma,
Tubeway Army,
Peter & Gordon,
The Royal Family And The Poor,
The Flesh Eaters,
Sun City Girls,
The Happenings,
Gang Gang Dance,
Reuben Wilson,
The Blues Magoos,
The Last Poets,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.