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 Algeria and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Lagos and Lyon.
I'm losing my edge to the art-school Sao Paulo 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the organ sounds with much patience.
I was there when Lou Reed 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 Barrington Levy to the grunge 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 Kerri Chandler. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Icehouse 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Gabor Szabo record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
John Coltrane,
The Fire Engines,
Vainqueur,
Avey Tare,
The Happenings,
Alison Limerick,
Dead Boys,
Kayak,
Inner City,
Tears for Fears,
The Doors,
The Red Krayola,
Joyce Sims,
The Beau Brummels,
Marcia Griffiths,
Wire,
Donald Byrd,
KRS-One,
Delta 5,
The Searchers,
Urselle,
the Human League,
Eric Dolphy,
Eyeless In Gaza,
The Trojans,
Curtis Mayfield,
Bauhaus,
Kango’s Stein Massive,
Scan 7,
Nick Fraelich,
The Birthday Party,
Kaleidoscope,
Radiopuhelimet,
Ossler,
The Fuzztones,
In Retrospect,
Deepchord,
Kevin Saunderson,
The Pretty Things,
Moby Grape,
Thinking Fellers Union Local 282,
Sandy B,
Saccharine Trust,
Siglo XX,
Kauko Röyhkä ja Narttu,
Shuggie Otis,
Lightning Bolt,
Visionaries,LMNO, T- Love & Iriscience,
Eddi Front,
Larry & the Blue Notes,
The Victims,
Lungfish,
a-ha,
Average White Band,
Joy Division,
Stetsasonic,
The Sisters of Mercy,
Iggy Pop,
Fela Kuti,
Drive Like Jehu,
The Stooges,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.