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 Uruguay and from Bremen.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Winnipeg and London.
I'm losing my edge to the art-school Columbus 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 rhodes 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 Buzzcocks to the disco 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 Severed Heads. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every The Victims record on German import.
I heard that you have a white label of every seminal rap 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 a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kurtis Blow,
Bootsy's Rubber Band,
The Invisible,
Big Daddy Kane,
Q and Not U,
Bauhaus,
Fort Wilson Riot,
Pagans,
Ponytail,
Neu!,
48th St. Collective,
Fugazi,
Spandau Ballet,
Nick Cave & The Bad Seeds,
Bluetip,
Lou Reed,
Gian Franco Pienzio,
Roy Ayers,
David Bowie,
Mad Mike,
The Pop Group,
The Searchers,
Amazonics,
Mark Hollis,
Pantaleimon,
Archie Shepp,
Man Parrish,
Technova,
Nation of Ulysses,
Alphaville,
E-Dancer,
The Leaves,
The Tremeloes,
Deakin,
Gary Puckett & The Union Gap,
Excepter,
The American Breed,
CMW,
Bob Dylan,
Wings,
Minutemen,
These Immortal Souls,
James White and The Blacks,
Desert Stars,
Alice Coltrane,
Warren Ellis,
DJ Style,
Kevin Saunderson,
Babytalk,
Drexciya,
Mandrill,
Slave,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Brass Construction,
Donald Byrd,
Roy Ayers Ubiquity,
Ultramagnetic MC's,
Ultravox,
Stockholm Monsters,
Harpers Bizarre,
Letta Mbulu,
Nirvana,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.