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 Egypt and from Mumbai.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Lille and Madrid.
I'm losing my edge to the art-school Delhi 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 clarinet 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 Public Enemy to the funk kids.
I played it at the Roxy.
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 Kurtis Blow. All the underground hits.
All The Sound tracks. I heard you have a vinyl of every Iggy Pop record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Richard Hell and the Voidoids record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blossom Toes,
Robert Hood,
Sixth Finger,
Heavy D & The Boyz,
Kas Product,
The Seeds,
Orchestral Manoeuvres in the Dark,
The Wake,
Jerry Gold Smith,
A Flock of Seagulls,
The Barracudas,
Agitation Free,
Accadde A,
David Axelrod,
Nick Fraelich,
Oblivians,
Lou Christie,
Danielle Patucci,
Youth Brigade,
Radio Birdman,
UT,
Inner City,
Pulsallama,
Gang Gang Dance,
The Move,
The New Christs,
The Monks,
Godley & Creme,
Andrew Hill,
Cybotron,
The Chocolate Watch Band,
Jacques Brel,
Gil Scott-Heron & Brian Jackson,
Roxy Music,
ABBA,
Junior Murvin,
Mad Mike,
Thee Headcoats,
Henry Cow,
Pussy Galore,
Dr. Dre and Snoop Doggy Dog,
Rhythm & Sound,
Joy Division,
Amon Düül,
Ossler,
Avey Tare & Kría Brekkan,
The Golliwogs,
The Skatalites,
CMW,
Minnie Riperton,
Oppenheimer Analysis,
Harry Pussy,
Wasted Youth,
The Gap Band,
The Vogues,
Lou Reed & Metallica,
Pagans,
Bang on a Can All-Stars,
The Cowsills,
Negative Approach,
The Standells,
Cameo, Cameo, Cameo, Cameo.
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.