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 Mozambique and from Columbus.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Milan and Cairo.
I'm losing my edge to the art-school Edmonton 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 1973 at the first Television practice in a loft in New York.
I was working on the oboe 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 Colin Newman to the disco kids.
I played it at the Hacienda.
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 Porter Ricks. All the underground hits.
All Kurtis Blow tracks. I heard you have a vinyl of every Pierre Henry 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 '70s cut and another box set from the '90s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mummies,
Bush Tetras,
Reuben Wilson,
Nas,
the Association,
Mary Jane Girls,
Brick,
Andrew Ashong & Theo Parrish,
Sound Behaviour,
Model 500,
Major Organ And The Adding Machine,
Shoche,
Bootsy's Rubber Band,
Goldenarms,
Kerri Chandler,
Mantronix,
The Peanut Butter Conspiracy,
Ohio Players,
Ronan,
Pantytec,
Marc Romboy vs. Booka Shade,
Eric Copeland,
Marc Almond,
Nick Fraelich,
The Cosmic Jokers,
Al Stewart,
Robert Hood,
Kas Product,
Cybotron,
Average White Band,
The Move,
Easy Going,
Graham Central Station,
Sixth Finger,
Gian Franco Pienzio,
Mad Mike,
Derrick May,
Liaisons Dangereuses,
OOIOO,
Juan Atkins,
Josef K,
Gerry Rafferty,
Joensuu 1685,
Scion,
Das Ding,
Drexciya,
June of 44,
Sun City Girls,
The Blackbyrds,
Harry Pussy,
The Mojo Men,
Amazonics,
The Slits,
Marine Girls,
Davy DMX,
Mars,
Stereo Dub,
Kauko Röyhkä ja Narttu,
These Immortal Souls,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.