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 Equatorial Guinea and from Manila.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1970.
I'm losing my edge.
To all the kids in Delhi and Manchester.
I'm losing my edge to the art-school Delhi 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the guitar sounds with much patience.
I was there when Lou Reed 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 Skarface to the techno 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 Suburban Knight. All the underground hits.
All Swell Maps tracks. I heard you have a vinyl of every Hot Snakes record on German import.
I heard that you have a white label of every seminal punk 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 organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rosa Yemen,
Alton Ellis,
Flamin' Groovies,
Jerry Gold Smith,
The Divine Comedy,
Technova,
Loose Ends,
Inner City,
Godley & Creme,
Sight & Sound,
E-Dancer,
Boogie Down Productions,
Brass Construction,
Ultimate Spinach,
Surgeon,
Johnny Osbourne,
Jeff Lynne,
Blossom Toes,
Bobby Byrd,
Matthew Bourne,
The Dave Clark Five,
the Germs,
Symarip,
DeepChord presents Echospace,
Nas,
Pussy Galore,
Lightning Bolt,
Graham Central Station,
Jacques Brel,
Subhumans,
Richard Hell and the Voidoids,
Erasure,
Wasted Youth,
The Toasters,
Charles Mingus,
The Detroit Cobras,
Kings Of Tomorrow,
Gian Franco Pienzio,
Drexciya,
Amon Düül,
Japan,
the Association,
Aswad,
Gary Puckett & The Union Gap,
Kas Product,
Cecil Taylor,
New York Dolls,
The Moleskins,
John Lydon,
The Modern Lovers,
Kenny Larkin,
T. Rex,
Barclay James Harvest,
The Last Poets,
OOIOO,
Sonic Youth,
London Community Gospel Choir,
Masters at Work,
Selector Dub Narcotic,
Dr. Dre and Snoop Doggy Dog,
Crash Course in Science, Crash Course in Science, Crash Course in Science, Crash Course in Science.
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.