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 Uruguay and from Spokane.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Halifax and Salvador.
I'm losing my edge to the art-school Shanghai 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 rhodes 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 Rosa Yemen to the rap 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 F. McDonald. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Kerrie Biddell 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 '60s cut and another box set from the '70s.
I hear you're buying an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
Sugar Minott,
Pylon,
Bobby Sherman,
Patti Smith,
Bootsy Collins,
The Golliwogs,
Glambeats Corp.,
Super Lover Cee & Casanova Rud,
Albert Ayler,
Hoover,
Bluetip,
the Swans,
The Cure,
Sad Lovers and Giants,
the Sonics,
Arthur Verocai,
Major Organ And The Adding Machine,
Cabaret Voltaire,
Chrome,
Depeche Mode,
Man Eating Sloth,
Maleditus Sound,
Mad Mike,
Crispian St. Peters,
Crooked Eye,
Joe Smooth,
Thompson Twins,
Marcia Griffiths,
This Heat,
Absolute Body Control,
Interpol,
Anakelly,
Teenage Jesus and the Jerks,
Bill Wells,
Radiopuhelimet,
Mission of Burma,
Sly & The Family Stone,
Electric Light Orchestra,
Suicide,
Grandmaster Flash and the Furious Five,
Boogie Down Productions,
Amazonics,
Ohio Players,
Piero Umiliani,
Rosa Yemen,
Graham Central Station,
Basic Channel,
Minor Threat,
Sun Ra Arkestra,
David Axelrod,
Ponytail,
Drexciya,
New Order,
Erykah Badu,
John Cale,
Wally Richardson,
Ajijia Myrayebe,
Nick Fraelich,
Fad Gadget,
Rod Modell,
Thee Headcoats,
Suburban Knight,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.