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 Nepal and from Cairo.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Milan and Stockholm.
I'm losing my edge to the art-school Houston 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 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 Bobbi Humphrey to the techno kids.
I played it at CBGB's.
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 The Star Department. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Soulsonic Force 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 '80s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
Eddi Front,
Peter & Gordon,
Marc Almond,
Cabaret Voltaire,
Eyeless In Gaza,
Vaughan Mason & Crew,
Jeff Mills,
David Axelrod,
Faust,
Sugar Minott,
Minny Pops,
Neil Young & Crazy Horse,
Jandek,
Carl Craig,
John Holt,
Cecil Taylor,
Tommy Roe,
Larry & the Blue Notes,
The Doobie Brothers,
Althea and Donna,
Qualms,
Nik Kershaw,
Sun City Girls,
Siglo XX,
Ultimate Spinach,
Jerry Gold Smith,
De La Soul & Jungle Brothers,
X-Ray Spex,
Fat Boys,
Aswad,
Avey Tare & Kría Brekkan,
Roy Ayers Ubiquity,
FM Einheit,
The Star Department,
Brass Construction,
Rites of Spring,
Joyce Sims,
Sarah Menescal,
MC5,
Hot Snakes,
Flipper,
The Neon Judgement,
Jesper Dahlbäck,
The Velvet Underground,
Brothers Johnson,
Kings Of Tomorrow,
Heavy D & The Boyz,
Unrelated Segments,
Second Layer,
The Mummies,
The Human League,
Y Pants,
Lower 48,
Gary Puckett & The Union Gap,
Radiohead,
Silicon Teens,
Wolf Eyes,
Soul II Soul,
Dual Sessions,
a-ha,
Youth Brigade,
The Detroit Cobras,
The Victims, The Victims, The Victims, The Victims.
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.