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 Micronesia and from Mexico City.
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 1972.
I'm losing my edge.
To all the kids in Manchester and Woodstock.
I'm losing my edge to the art-school Winnipeg 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 808 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 The Gap Band to the jazz 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 Tres Demented. All the underground hits.
All Ituana tracks. I heard you have a vinyl of every Subhumans record on German import.
I heard that you have a white label of every seminal rock 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 snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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 Red Krayola,
Spandau Ballet,
The Fall,
Davy DMX,
Marine Girls,
Warsaw,
Grandmaster Flash,
The Sisters of Mercy,
The Slits,
Eli Mardock,
Bobby Womack,
Buzzcocks,
The Tremeloes,
Lakeside,
AZ,
Desert Stars,
Eden Ahbez,
Subhumans,
Rod Modell,
Rufus Thomas,
Notorious Big And Bone Thugs,
DJ Sneak,
One Last Wish,
Half Japanese,
Slick Rick,
Whodini,
Pylon,
Patti Smith,
The Wake,
Howard Jones,
Sunsets and Hearts,
Pierre Henry,
Amazonics,
Country Joe & The Fish,
Brand Nubian,
Matthew Halsall,
Reagan Youth,
Ralphi Rosario,
The Doors,
Sex Pistols,
Warren Ellis,
Soft Machine,
Blake Baxter,
Isaac Hayes,
Art Ensemble Of Chicago,
The Fuzztones,
Lebanon Hanover,
48th St. Collective,
The West Coast Pop Art Experimental Band,
The Neon Judgement,
Marmalade,
Sly & The Family Stone,
Boz Scaggs,
The Peanut Butter Conspiracy,
Beasts of Bourbon,
Urselle,
Erasure,
Sound Behaviour,
Delon & Dalcan,
Althea and Donna,
Saccharine Trust,
cv313, cv313, cv313, cv313.
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.