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 Georgia and from Houston.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Delhi and Johannesburg.
I'm losing my edge to the art-school Salvador 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 synthesizer 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 the Association to the electroclash kids.
I played it at the Spitz.
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 Rapeman. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Lou Reed record on German import.
I heard that you have a white label of every seminal disco 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 a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Moody Blues record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
The Fire Engines,
Gang Green,
Black Sheep,
Max Romeo,
The Jesus and Mary Chain,
Red Lorry Yellow Lorry,
Visage,
The Last Poets,
The Count Five,
UT,
Lucky Dragons,
Oppenheimer Analysis,
The Black Dice,
Röyhkä ja Rättö ja Lehtisalo,
L. Decosne,
Crime,
Girls At Our Best!,
Grandmaster Flash,
Niagra,
Eurythmics,
The Sonics,
Q and Not U,
Cabaret Voltaire,
Lalo Schifrin,
Matthew Bourne,
Tim Buckley,
Neil Young & Crazy Horse,
Essential Logic,
Pantaleimon,
Fad Gadget,
Zapp,
The Gap Band,
The Chocolate Watch Band,
Michelle Simonal,
Jeff Lynne,
The Music Machine,
Sarah Menescal,
Major Organ And The Adding Machine,
Bizarre Inc.,
Moebius,
Josef K,
Joe Smooth,
The Modern Lovers,
Tears for Fears,
Fort Wilson Riot,
Bill Wells,
Procol Harum,
The Walker Brothers,
Deepchord,
Kaleidoscope,
Peter Gordon & Love of Life Orchestra,
Ronan,
Rahsaan Roland Kirk,
Gerry Rafferty,
Alton Ellis,
Audionom,
Lakeside,
Terror Squad Feat. Camron,
Quantec,
Aaron Thompson,
Angry Samoans, Angry Samoans, Angry Samoans, Angry Samoans.
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.