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 Belize and from Paris.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Bologna and Glasgow.
I'm losing my edge to the art-school Calgary 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 harpsichord 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 Qualms to the rap kids.
I played it at the Spitz.
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 Matthew Bourne. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Marc Almond record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Funkadelic record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Cale,
Flamin' Groovies,
Ituana,
Unwound,
R.M.O.,
Deepchord,
Pantytec,
Joensuu 1685,
Art Ensemble Of Chicago,
The Neon Judgement,
Dave Gahan,
X-101,
Hardrive,
Depeche Mode,
Grey Daturas,
The Busters,
Rufus Thomas,
Colin Newman,
Interpol,
L. Decosne,
Gang Starr,
The Royal Family And The Poor,
Rhythim Is Rhythim,
Joey Negro,
Bluetip,
Rowland S Howard / Lydia Lunch,
Eddi Front,
Marmalade,
Big Daddy Kane,
Rekid,
X-102,
Johnny Clarke,
The Vogues,
The Residents,
Essential Logic,
Qualms,
The Barracudas,
Skaos,
Wire,
Heavy D & The Boyz,
Lungfish,
Man Eating Sloth,
Aural Exciters,
Public Enemy,
Negative Approach,
Traffic Nightmare,
Ken Boothe,
Soul II Soul,
Andrew Hill,
Bootsy Collins,
Outsiders,
Pharaoh Sanders and the Fire Engines,
Zapp,
Peter Gordon & Love of Life Orchestra,
CMW,
Bootsy's Rubber Band,
Spandau Ballet,
Roger Hodgson,
Howard Jones,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.