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 Georgia and from Taipei.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Manchester.
I'm losing my edge to the art-school Madrid 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 Soft Boys practice in a loft in Cambridge.
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 Heavy D & The Boyz to the punk kids.
I played it at the 40 Watt.
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 Reagan Youth. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every Vladislav Delay record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a sitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Juan Atkins record.
I hear that you and your band have sold your güiro and bought a theremin.
I hear that you and your band have sold your theremin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
48th St. Collective,
Richard Hell and the Voidoids,
Grandmaster Flash,
Barbara Tucker,
Girls At Our Best!,
The Sonics,
Wolf Eyes,
Kenny Larkin,
Alphaville,
Derrick Morgan,
Dave Gahan,
Moby Grape,
The Zeros,
Gastr Del Sol,
Severed Heads,
Lucky Dragons,
Glambeats Corp.,
MC5,
Fort Wilson Riot,
Fluxion,
Ronnie Foster,
L. Decosne,
June of 44,
T. Rex,
Gil Scott Heron,
The Human League,
Pantaleimon,
Suicide,
LL Cool J,
Interpol,
The Remains,
Harry Pussy,
Kango’s Stein Massive,
Black Moon,
Kings Of Tomorrow,
Bobby Hutcherson,
Gil Scott-Heron & Brian Jackson,
Q and Not U,
Radiohead,
Funkadelic,
Black Bananas,
Underground Resistance,
The Cramps,
Essential Logic,
Rites of Spring,
The Toasters,
Kerri Chandler,
Monolake,
Nation of Ulysses,
The Dead C,
Carl Craig,
Crime,
Junior Murvin,
Sight & Sound,
Country Joe & The Fish,
The Monochrome Set,
Lalann,
Peter and Kerry,
Gabor Szabo,
Scion,
Erykah Badu,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.