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 Somalia 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 1961 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Bologna.
I'm losing my edge to the art-school Salvador 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 808 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 Josef K 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 Erasure. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every The Mummies record on German import.
I heard that you have a white label of every seminal crunk 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 arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Reuben Wilson record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Slave,
Ossler,
Barclay James Harvest,
The Modern Lovers,
The West Coast Pop Art Experimental Band,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bang on a Can All-Stars,
The American Breed,
Monolake,
Bobby Womack,
Jandek,
Eden Ahbez,
David Axelrod,
the Germs,
MC5,
Manfred Mann's Earth Band,
The Music Machine,
The Selecter,
The Stooges,
Porter Ricks,
Kango’s Stein Massive,
Dave Gahan,
Marmalade,
Major Organ And The Adding Machine,
DeepChord presents Echospace,
The Remains,
Gastr Del Sol,
Letta Mbulu,
Dead Boys,
The Cramps,
Patti Smith,
Scan 7,
Hasil Adkins,
Inner City,
Joe Smooth,
8 Eyed Spy,
Stiv Bators,
Mr. Review,
Laurel Aitken,
Blake Baxter,
Zero Boys,
Siouxsie and the Banshees,
Theoretical Girls,
London Community Gospel Choir,
Supertramp,
Youth Brigade,
Heaven 17,
Soft Cell,
Janne Schatter,
Brass Construction,
Mars,
Soulsonic Force,
Thee Headcoats,
Joe Finger,
The Searchers,
The Standells,
Japan,
Todd Terry,
Lebanon Hanover,
Bootsy Collins,
UT,
The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy.
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.