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 Swaziland and from Lyon.
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 1971.
I'm losing my edge.
To all the kids in Beijing and Lille.
I'm losing my edge to the art-school Philadelphia 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin 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 Television Personalities to the punk kids.
I played it at the 40 Watt.
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 Rekid tracks. I heard you have a vinyl of every Radio Birdman 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 '80s cut and another box set from the '80s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sonic Youth record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Raincoats,
Visage,
Justin Hinds & The Dominoes,
Andrew Hill,
Kings Of Tomorrow,
Traffic Nightmare,
China Crisis,
Minny Pops,
Maleditus Sound,
Nation of Ulysses,
Bill Wells,
Liaisons Dangereuses,
Echo & the Bunnymen,
PIL,
Matthew Halsall,
Warren Ellis,
Heaven 17,
Dorothy Ashby,
Negative Approach,
Strawberry Alarm Clock,
The Move,
Dead Boys,
Unrelated Segments,
Nas,
Quantec,
John Holt,
The Toasters,
The Velvet Underground,
Lakeside,
Index,
New York Dolls,
Erasure,
Excepter,
Grandmaster Flash and the Furious Five,
Main Source,
Byron Stingily,
Godley & Creme,
Joe Smooth,
Radiopuhelimet,
Matthew Bourne,
Siouxsie and the Banshees,
Soft Cell,
Boogie Down Productions,
Glambeats Corp.,
Black Bananas,
Scientists,
The Happenings,
Josef K,
Moby Grape,
Eli Mardock,
Crash Course in Science,
Aloha Tigers,
Deakin,
Althea and Donna,
De La Soul & Jungle Brothers,
The United States of America,
The Black Dice,
Mad Mike,
Bobby Sherman,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Visionaries,LMNO, T- Love & Iriscience,
Accadde A,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.