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 Belarus and from Sao Paulo.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and Milan.
I'm losing my edge to the art-school Jakarta 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the arpeggiator 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 Peter and Kerry to the crunk kids.
I played it at the Hacienda.
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 Beau Brummels. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every Fad Gadget 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 '70s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Maleditus Sound record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Nik Kershaw,
The Birthday Party,
Aswad,
Smog,
Guru Guru,
The Leaves,
The Busters,
Ultramagnetic MC's,
Eli Mardock,
Mantronix,
Lebanon Hanover,
Amon Düül,
The Fall,
Joe Finger,
Selector Dub Narcotic,
Neil Young & Crazy Horse,
Swell Maps,
Flash Fearless,
Faust,
Joey Negro,
Livin' Joy,
Hashim,
Fad Gadget,
Cymande,
The Associates,
Davy DMX,
Pantaleimon,
Sparks,
The Cramps,
Max Romeo,
Echospace,
Rhythim Is Rhythim,
Liaisons Dangereuses,
The Barracudas,
Sex Pistols,
John Lydon,
Kings Of Tomorrow,
Pharoah Sanders,
Slave,
Robert Görl,
Gian Franco Pienzio,
Mad Mike,
Henry Cow,
48th St. Collective,
Stereo Dub,
Lee Hazlewood,
Au Pairs,
In Retrospect,
The Move,
Throbbing Gristle,
Jandek,
Delon & Dalcan,
Reuben Wilson,
Drexciya,
The Toasters,
Blossom Toes,
Tears for Fears,
Cecil Taylor,
Piero Umiliani,
The Human League, The Human League, The Human League, The Human League.
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.