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 Togo and from Stockholm.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Houston and Accra.
I'm losing my edge to the art-school Philadelphia 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 1984 at the first Arcadia practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Michael McDonald 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 Dead Boys to the electroclash kids.
I played it at CBGB's.
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 Barclay James Harvest. All the underground hits.
All The Dead C tracks. I heard you have a vinyl of every Royal Trux record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lungfish record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Intrusion,
Eurythmics,
Cymande,
The Shadows of Knight,
Todd Terry,
Porter Ricks,
Soft Cell,
Judy Mowatt,
U.S. Maple,
LL Cool J,
Babytalk,
Lebanon Hanover,
The Sonics,
Eli Mardock,
The Index,
Ash Ra Tempel,
Avey Tare's Slasher Flicks,
The Moody Blues,
Country Teasers,
The Busters,
Silicon Teens,
Be Bop Deluxe,
Alison Limerick,
Stetsasonic,
Juan Atkins,
Gastr Del Sol,
Amazonics,
The Remains,
Mo-Dettes,
The Dave Clark Five,
Joensuu 1685,
Tomorrow,
Flash Fearless,
Minnie Riperton,
Howard Jones,
Rotary Connection,
EPMD,
The Litter,
Big Daddy Kane,
The Beau Brummels,
Slave,
Sparks,
The Fuzztones,
X-102,
The Gladiators,
Notorious Big And Bone Thugs,
Thee Headcoats,
Young Marble Giants,
The Black Dice,
Angels of Light & Akron/Family,
Jawbox,
Lafayette Afro Rock Band,
Mary Jane Girls,
Arab on Radar,
the Association,
Crash Course in Science,
Nils Olav,
Television,
Ten City,
Junior Murvin,
Rosa Yemen,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.