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 Guinea 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 1964 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Shanghai.
I'm losing my edge to the art-school Copenhagen 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 The Knickerbockers to the rock 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 Andrew Hill. All the underground hits.
All Procol Harum tracks. I heard you have a vinyl of every Toni Rubio 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 '70s cut and another box set from the '90s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Fela Kuti record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba 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 Saints,
Siouxsie and the Banshees,
cv313,
Ralphi Rosario,
The Pretty Things,
Teenage Jesus and the Jerks,
DNA,
The Young Rascals,
The Knickerbockers,
Accadde A,
Youth Brigade,
Colin Newman,
Rapeman,
the Soft Cell,
Model 500,
Andrew Hill,
Jacob Miller,
Das Ding,
Anakelly,
ABC,
Godley & Creme,
Hoover,
Alison Limerick,
Jeff Lynne,
Y Pants,
The Busters,
Tears for Fears,
Cymande,
The Associates,
Inner City,
Theoretical Girls,
Matthew Halsall,
the Sonics,
Yazoo,
The Standells,
Thinking Fellers Union Local 282,
D'Angelo,
The Cramps,
Gil Scott-Heron & Brian Jackson,
Oppenheimer Analysis,
Boogie Down Productions,
James Chance & The Contortions,
The Star Department,
Rosa Yemen,
Moby Grape,
The Dirtbombs,
Sun City Girls,
K-Klass,
The Names,
Stockholm Monsters,
Wighnomy Brothers & Robag Wruhme,
Marcia Griffiths,
Qualms,
The Gap Band,
Pere Ubu,
Faust,
The Blues Magoos,
Bauhaus,
Essential Logic,
The Residents,
The Gories,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.