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 Ecuador and from Lille.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Columbus.
I'm losing my edge to the art-school Houston 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the snare 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 Star Department to the disco 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 Yellowson. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every Jawbox record on German import.
I heard that you have a white label of every seminal grunge 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 a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
Loose Ends,
Orchestral Manoeuvres in the Dark,
The Sisters of Mercy,
The Monochrome Set,
June Days,
The Human League,
The Mojo Men,
Man Parrish,
Funkadelic,
Crash Course in Science,
Ornette Coleman,
U.S. Maple,
The Walker Brothers,
Justin Hinds & The Dominoes,
Moebius,
Gregory Isaacs,
The Tremeloes,
Josef K,
Motorama,
Piero Umiliani,
Wolf Eyes,
Glenn Branca,
Joyce Sims,
Rites of Spring,
Yazoo,
Harpers Bizarre,
JFA,
Red Lorry Yellow Lorry,
Absolute Body Control,
Black Bananas,
Severed Heads,
Bizarre Inc.,
Scion,
Harry Pussy,
The Gun Club,
K-Klass,
Bang on a Can All-Stars,
Make Up,
These Immortal Souls,
John Cale,
Eden Ahbez,
The Moody Blues,
The Trojans,
Tomorrow,
Peter and Kerry,
Tim Buckley,
Alphaville,
Crispian St. Peters,
Delon & Dalcan,
Kaleidoscope,
The Star Department,
Television,
Jerry's Kids,
Teenage Jesus and the Jerks,
Jeff Mills,
Hasil Adkins,
China Crisis,
the Normal,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.