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 Australia and from London.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1974.
I'm losing my edge.
To all the kids in Mexico City and Halifax.
I'm losing my edge to the art-school Tokyo 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 chamberlin 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 Flipper to the electroclash kids.
I played it at the Roxy.
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 Spandau Ballet. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every The Move 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Be Bop Deluxe record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Curtis Mayfield,
MDC,
Rahsaan Roland Kirk,
the Human League,
The Dirtbombs,
Intrusion,
Shoche,
The Associates,
The Pop Group,
The Wake,
Blossom Toes,
Todd Terry,
Bronski Beat,
Roxy Music,
Grauzone,
Amazonics,
Little Man,
Marshall Jefferson,
The Grass Roots,
The Cosmic Jokers,
The Residents,
Todd Rundgren,
Fluxion,
New York Dolls,
Public Enemy,
In Retrospect,
Magma,
Scion,
Juan Atkins,
The Moody Blues,
Motorama,
Gichy Dan,
The Slackers,
The Raincoats,
Schoolly D,
Sight & Sound,
Stiv Bators,
Von Mondo,
a-ha,
Maleditus Sound,
World's Most,
Big Daddy Kane,
Cluster,
Mad Mike,
Lee Hazlewood,
James Chance & The Contortions,
The Shadows of Knight,
John Coltrane,
Selector Dub Narcotic,
Franke,
Aloha Tigers,
Pierre Henry,
The Fugs,
The Alarm Clocks,
Flash Fearless,
Y Pants,
The Human League,
Drive Like Jehu,
Underground Resistance,
Michelle Simonal,
Tim Buckley,
Terrestrial Tones,
Ice-T, Ice-T, Ice-T, Ice-T.
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.