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 Samoa and from London.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Lyon and Accra.
I'm losing my edge to the art-school Bologna 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 at the first Suicide practice in a loft in New York.
I was working on the marimba 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 Lakeside to the punk kids.
I played it at the Roxy.
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 Mary Jane Girls. All the underground hits.
All Maleditus Sound tracks. I heard you have a vinyl of every Sister Nancy record on German import.
I heard that you have a white label of every seminal crunk 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 an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Heavy D & The Boyz record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Little Man,
DeepChord presents Echospace,
Pierre Henry,
Monolake,
The Electric Prunes,
Traffic Nightmare,
Strawberry Alarm Clock,
Circle Jerks,
Andrew Ashong & Theo Parrish,
Juan Atkins,
Eden Ahbez,
Vladislav Delay,
Toni Rubio,
The Victims,
Tropical Tobacco,
FM Einheit,
Jerry's Kids,
Blancmange,
The J.B.'s,
The Techniques,
The Golliwogs,
T.S.O.L.,
the Soft Cell,
Nation of Ulysses,
Tom Boy,
The Five Americans,
a-ha,
Fugazi,
Sarah Menescal,
Oneida,
John Lydon,
China Crisis,
The Moleskins,
John Coltrane,
Quadrant,
Kool G Rap & DJ Polo,
Judy Mowatt,
Quando Quango,
Nico,
Eric B and Rakim,
The United States of America,
U.S. Maple,
The Cowsills,
Electric Prunes,
The Men They Couldn't Hang,
Index,
The Happenings,
Japan,
Country Teasers,
Franke,
ABBA,
The Saints,
Marc Almond,
Loose Ends,
The Vogues,
Ossler,
Arthur Verocai,
Masters at Work,
Scratch Acid,
Gil Scott-Heron & Brian Jackson,
Nas,
Blossom Toes,
Dawn Penn,
Television, Television, Television, Television.
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.