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 Sierra Leone and from Salvador.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Manchester and Lagos.
I'm losing my edge to the art-school Bremen 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Japan to the rock 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 Royal Family And The Poor. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every Amazonics record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The American Breed,
DJ Sneak,
Audionom,
Angry Samoans,
E-Dancer,
Alice Coltrane,
Skaos,
PIL,
Tommy Roe,
June of 44,
Dual Sessions,
Lakeside,
Grandmaster Flash and the Furious Five,
Notorious Big And Bone Thugs,
Brass Construction,
Grey Daturas,
John Foxx,
Bang On A Can,
Kango’s Stein Massive,
Deadbeat,
Sällskapet,
Newcleus,
Ultra Naté,
Supertramp,
Brothers Johnson,
Radiopuhelimet,
The Blues Magoos,
Marvin Gaye,
Erykah Badu,
The Grass Roots,
Jeru the Damaja,
Hoover,
The Cosmic Jokers,
Fear,
Bluetip,
Jerry Gold Smith,
cv313,
Desert Stars,
Cabaret Voltaire,
The New Christs,
The Golliwogs,
Man Parrish,
Harry Pussy,
The United States of America,
MDC,
Camron Feat. Memphis Bleek And Beenie Seigel,
Scott Walker + Sunn O))),
The Vogues,
Flipper,
Faraquet,
The Stooges,
Lyres,
The Durutti Column,
Scratch Acid,
Lebanon Hanover,
T.S.O.L.,
Terry Callier,
Deutsch Amerikanische Freundschaft,
Young Marble Giants,
The Pop Group,
Lalo Schifrin,
Sixth Finger,
Lungfish, Lungfish, Lungfish, Lungfish.
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.