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 Oman and from Woodstock.
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 1975.
I'm losing my edge.
To all the kids in Bremen and Tehran.
I'm losing my edge to the art-school Lyon 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 Chic practice in a loft in New York.
I was working on the theremin sounds with much patience.
I was there when Donald Fagen 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 Half Japanese to the techno kids.
I played it at the Crocodile.
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 Arthur Verocai. All the underground hits.
All Bob Dylan tracks. I heard you have a vinyl of every X-Ray Spex record on German import.
I heard that you have a white label of every seminal disco 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 snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Average White Band record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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 Names,
Saccharine Trust,
The Fire Engines,
The Last Poets,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Sister Nancy,
Avey Tare,
Ponytail,
Juan Atkins,
Camberwell Now,
Talk Talk,
Index,
John Cale,
Marmalade,
Crispy Ambulance,
Royal Trux,
The Busters,
Teenage Jesus and the Jerks,
Traffic Nightmare,
The Star Department,
CMW,
Bob Dylan,
John Lydon,
EPMD,
The Durutti Column,
Dual Sessions,
Justin Hinds & The Dominoes,
Funkadelic,
The Velvet Underground,
Joensuu 1685,
Das Ding,
Au Pairs,
The Searchers,
The Cure,
Nico,
Ossler,
Al Stewart,
Echo & the Bunnymen,
Negative Approach,
Harmonia,
Malaria!,
Tears for Fears,
The Evens,
Bootsy Collins,
Notorious BIG live in Amsterdam,
Neu!,
Simply Red,
Charles Mingus,
Rod Modell,
Unrelated Segments,
Tubeway Army,
The Modern Lovers,
Agent Orange,
The Wake,
Wasted Youth,
Nation of Ulysses,
Oppenheimer Analysis,
Audionom,
Suburban Knight,
Sex Pistols,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.