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 Bhutan and from Manchester.
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 1979.
I'm losing my edge.
To all the kids in Cairo and Edmonton.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the organ sounds with much patience.
I was there when Donald Fagen 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 John Cale to the disco 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 Bang On A Can. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Visage record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Sound Behaviour record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sandy B,
Lizzy Mercier Descloux,
The Cure,
Spandau Ballet,
Josef K,
The Smiths,
Heavy D & The Boyz,
Teenage Jesus and the Jerks,
Slick Rick,
Nas,
Grandmaster Flash and the Furious Five,
Lee Hazlewood,
Agitation Free,
Franke,
Guru Guru,
Sarah Menescal,
Siouxsie and the Banshees,
Jimmy McGriff,
Electric Prunes,
Public Enemy,
Camouflage,
the Soft Cell,
The Barracudas,
Vladislav Delay,
Curtis Mayfield,
Stetsasonic,
Kas Product,
Cabaret Voltaire,
Tears for Fears,
Harry Pussy,
Terrestrial Tones,
Judy Mowatt,
Godley & Creme,
Nico,
Yusef Lateef,
Ken Boothe,
Crispian St. Peters,
The Grass Roots,
The Last Poets,
PIL,
Supertramp,
Wolf Eyes,
Young Marble Giants,
The Tremeloes,
Sun Ra,
Albert Ayler,
Matthew Bourne,
Alison Limerick,
Scientists,
Charles Mingus,
The Star Department,
The Monochrome Set,
Red Lorry Yellow Lorry,
Monks,
Orchestral Manoeuvres in the Dark,
The Monks,
Fluxion,
Gregory Isaacs,
The Blues Magoos,
Mars,
Dead Boys, Dead Boys, Dead Boys, Dead Boys.
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.