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 Malta and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Copenhagen and Lagos.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the organ sounds with much patience.
I was there when Nile Rodgers 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 Vogues to the jazz kids.
I played it at the Spitz.
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 Outsiders. All the underground hits.
All Henry Cow tracks. I heard you have a vinyl of every Gong 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 '70s cut and another box set from the '70s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Prince Buster record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare's Slasher Flicks,
Kevin Saunderson,
The Cosmic Jokers,
Adolescents,
Joyce Sims,
Gary Puckett & The Union Gap,
Depeche Mode,
Young Marble Giants,
The Birthday Party,
John Foxx,
Heaven 17,
Arab on Radar,
Lonnie Liston Smith,
David Bowie,
Rufus Thomas,
The Wake,
Eric B and Rakim,
Harry Pussy,
The Sound,
Lou Christie,
Accadde A,
Bizarre Inc.,
Robert Hood,
Wally Richardson,
Erasure,
Fela Kuti,
Scrapy,
Cal Tjader,
Lafayette Afro Rock Band,
Al Stewart,
Harpers Bizarre,
Infiniti,
Eric Copeland,
It's A Beautiful Day,
Gichy Dan,
Marc Almond,
Anthony Braxton,
The Detroit Cobras,
Chris & Cosey,
Godley & Creme,
Popol Vuh,
John Holt,
Inner City,
Bobbi Humphrey,
The Gun Club,
Neil Young & Crazy Horse,
Cybotron,
Electric Prunes,
Wings,
Deutsch Amerikanische Freundschaft,
Be Bop Deluxe,
Duran Duran,
Leonard Cohen,
Fugazi,
The Monochrome Set,
Skarface,
Zapp,
Ultravox,
Kool Moe Dee,
Ultimate Spinach,
Jacob Miller,
David McCallum,
Quadrant,
Neu!, Neu!, Neu!, Neu!.
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.