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 Johannesburg.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Shanghai.
I'm losing my edge to the art-school Jakarta 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 linndrum 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 Marc Almond to the rock kids.
I played it at the 40 Watt.
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 Hardrive. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Severed Heads 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 '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Beasts of Bourbon record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Niagra,
John Lydon,
Cymande,
The Neon Judgement,
Yellowson,
Terrestrial Tones,
Saccharine Trust,
OOIOO,
the Soft Cell,
The Electric Prunes,
Tomorrow,
Bad Manners,
D'Angelo,
Yusef Lateef,
Symarip,
Drive Like Jehu,
Pantytec,
Roger Hodgson,
Arcadia,
Basic Channel,
U.S. Maple,
Quadrant,
Deutsch Amerikanische Freundschaft,
Motorama,
The Walker Brothers,
the Fania All-Stars,
Masters at Work,
Bang on a Can All-Stars,
Soulsonic Force,
The Jesus and Mary Chain,
Nico,
Girls At Our Best!,
Sister Nancy,
The Gap Band,
Crime,
Laurel Aitken,
X-101,
Black Bananas,
Moebius,
The Birthday Party,
Erykah Badu,
Josef K,
Theoretical Girls,
Con Funk Shun,
a-ha,
Visage,
Traffic Nightmare,
Joe Finger,
Shoche,
Arthur Verocai,
The Modern Lovers,
Blancmange,
Sight & Sound,
Eric Dolphy,
Gary Puckett & The Union Gap,
Subhumans,
Aswad,
Barclay James Harvest,
Beasts of Bourbon,
Rod Modell,
Andrew Hill,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.