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 St Lucia and from Tokyo.
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 Portland and Salvador.
I'm losing my edge to the art-school Calgary 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 1978 at the first Visage practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 Soft Machine to the electroclash 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 Sex Pistols. All the underground hits.
All The Tremeloes tracks. I heard you have a vinyl of every Derrick Morgan 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a June of 44 record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
Bush Tetras,
June of 44,
Subhumans,
The Seeds,
The Chocolate Watch Band,
Wolf Eyes,
Janne Schatter,
Eric B and Rakim,
Smog,
A Certain Ratio,
Carl Craig,
Siouxsie and the Banshees,
Robert Hood,
Kauko Röyhkä ja Narttu,
Malaria!,
cv313,
The Selecter,
The Beau Brummels,
Pharoah Sanders,
Television,
MDC,
Thinking Fellers Union Local 282,
Oblivians,
A Flock of Seagulls,
Symarip,
The Human League,
the Slits,
Cameo,
The Walker Brothers,
Blake Baxter,
David Bowie,
Mantronix,
Michelle Simonal,
X-101,
Cabaret Voltaire,
Radio Birdman,
Echospace,
Barclay James Harvest,
The Mighty Diamonds,
The Electric Prunes,
Sparks,
The Skatalites,
Drexciya,
Mark Hollis,
Jeru the Damaja,
Stockholm Monsters,
Lalann,
Con Funk Shun,
The Detroit Cobras,
Ultra Naté,
Wasted Youth,
Oneida,
Larry & the Blue Notes,
Whodini,
Intrusion,
Peter and Kerry,
Tears for Fears,
Eden Ahbez,
Nirvana,
Bootsy's Rubber Band,
Yusef Lateef,
Charles Mingus,
The Fortunes,
Grauzone, Grauzone, Grauzone, Grauzone.
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.