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 Poland and from Paris.
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 1967 to 1979.
I'm losing my edge.
To all the kids in New York and Manila.
I'm losing my edge to the art-school Woodstock 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the spring reverb 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 Cabaret Voltaire to the dance kids.
I played it at Trash.
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 Nation of Ulysses. All the underground hits.
All Bang on a Can All-Stars tracks. I heard you have a vinyl of every Sandy B record on German import.
I heard that you have a white label of every seminal grime 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 spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Barbara Tucker record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Make Up,
Scientists,
Al Stewart,
The Alarm Clocks,
Kaleidoscope,
Fort Wilson Riot,
Cluster,
Eurythmics,
Susan Cadogan,
Althea and Donna,
Joensuu 1685,
Pantaleimon,
Anthony Braxton,
Marvin Gaye,
Byron Stingily,
Section 25,
Curtis Mayfield,
The Mojo Men,
Grauzone,
The Durutti Column,
The Young Rascals,
Vainqueur,
De La Soul & Jungle Brothers,
Alison Limerick,
The Moleskins,
The Happenings,
This Heat,
Kings Of Tomorrow,
Andrew Ashong & Theo Parrish,
La Düsseldorf,
a-ha,
Jeru the Damaja,
Quantec,
Brass Construction,
Duran Duran,
Donny Hathaway,
The Remains,
Yusef Lateef,
The Victims,
Jimmy McGriff,
The Evens,
Fluxion,
The Buckinghams,
Stockholm Monsters,
Steve Hackett,
Shuggie Otis,
Reuben Wilson,
The Seeds,
Todd Rundgren,
The Toasters,
Tears for Fears,
Gang Starr,
The Busters,
Jesper Dahlback,
Niagra,
The Residents,
The Index,
Fear,
The Monks,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Pharoah Sanders,
Intrusion,
T.S.O.L., T.S.O.L., T.S.O.L., T.S.O.L..
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.