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 Estonia and from Winnipeg.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1968 to 1979.
I'm losing my edge.
To all the kids in Calgary and Portland.
I'm losing my edge to the art-school Hong Kong 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 Alphaville to the disco kids.
I played it at the Astoria.
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 The Fire Engines. All the underground hits.
All Ronan tracks. I heard you have a vinyl of every Bang on a Can All-Stars record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Desert Stars record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
Bluetip,
The Knickerbockers,
Orchestral Manoeuvres in the Dark,
Röyhkä ja Rättö ja Lehtisalo,
Rowland S Howard / Lydia Lunch,
Deutsch Amerikanische Freundschaft,
Frankie Knuckles,
Skarface,
The Move,
U.S. Maple,
Guru Guru,
The New Christs,
Toni Rubio,
48th St. Collective,
Joe Smooth,
Bill Wells,
The Music Machine,
Wally Richardson,
Sister Nancy,
Wolf Eyes,
The Barracudas,
Lungfish,
The Walker Brothers,
The Kinks,
Glenn Branca,
Al Stewart,
The Dave Clark Five,
Pete Rock & C.L. Smooth,
Heavy D & The Boyz,
kango's stein massive,
Scion,
Banda Bassotti,
Scan 7,
The Monochrome Set,
Brick,
Goldenarms,
Liaisons Dangereuses,
Metal Thangz,
Crime,
Justin Hinds & The Dominoes,
Reagan Youth,
Junior Murvin,
Nico,
Icehouse,
Cybotron,
Sugar Minott,
Man Eating Sloth,
Quantec,
Babytalk,
Steve Hackett,
Hardrive,
Girls At Our Best!,
Amazonics,
Blancmange,
Deadbeat,
Pole,
Manfred Mann's Earth Band,
New Age Steppers,
The Trojans, The Trojans, The Trojans, The Trojans.
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.