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 Botswana and from Copenhagen.
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 1971.
I'm losing my edge.
To all the kids in Lille and Salvador.
I'm losing my edge to the art-school Paris 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the linndrum 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 Eurythmics to the dance kids.
I played it at the Spitz.
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 Beau Brummels. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Moebius 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 '70s cut and another box set from the '70s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Infiniti,
Angry Samoans,
Little Man,
the Normal,
Boredoms,
David McCallum,
Hashim,
Gang of Four,
Bill Wells,
Marc Almond,
China Crisis,
Arab on Radar,
Fatback Band,
Deutsch Amerikanische Freundschaft,
T. Rex,
Black Pus,
Con Funk Shun,
The Slackers,
Marvin Gaye,
Orchestral Manoeuvres in the Dark,
Terry Callier,
Deadbeat,
Gastr Del Sol,
Cal Tjader,
MDC,
Sugar Minott,
Kurtis Blow,
Popol Vuh,
R.M.O.,
Scion,
The Standells,
Kool G Rap & DJ Polo,
Oppenheimer Analysis,
Pete Rock & C.L. Smooth,
Radio Birdman,
Gang Green,
Fugazi,
Iggy Pop,
Röyhkä ja Rättö ja Lehtisalo,
Eric Dolphy,
Charles Mingus,
The Skatalites,
Theoretical Girls,
Smog,
Fat Boys,
Television,
The Jesus and Mary Chain,
a-ha,
E-Dancer,
Terrestrial Tones,
DNA,
CMW,
Soulsonic Force,
Sällskapet,
Kerri Chandler,
Sparks,
The Fall,
Ohio Players,
The Litter,
Throbbing Gristle,
Public Image Ltd.,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.