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 Madagascar and from Accra.
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 1977.
I'm losing my edge.
To all the kids in Toronto and Seoul.
I'm losing my edge to the art-school Sao Paulo 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 1976 at the first Wire practice in a loft in Watford.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald 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 Boredoms to the punk kids.
I played it at CBGB's.
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 Rhythim Is Rhythim. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every Yazoo record on German import.
I heard that you have a white label of every seminal electroclash 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 theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skaos,
Flash Fearless,
Jeff Lynne,
Magazine,
Lebanon Hanover,
Absolute Body Control,
Rapeman,
Adolescents,
Rakim,
Mr. Review,
Qualms,
Infiniti,
The Litter,
the Soft Cell,
Boogie Down Productions,
Crispy Ambulance,
Banda Bassotti,
Oneida,
Inner City,
Faraquet,
Lalann,
John Lydon,
Laurel Aitken,
Robert Görl,
Rod Modell,
The J.B.'s,
Marmalade,
Underground Resistance,
June of 44,
Das Ding,
The Durutti Column,
Fort Wilson Riot,
Al Stewart,
K-Klass,
Sight & Sound,
Boredoms,
Swans,
Nils Olav,
Lyres,
CMW,
Arab on Radar,
De La Soul & Jungle Brothers,
Camberwell Now,
Minor Threat,
Monolake,
Japan,
The Red Krayola,
The Human League,
The Happenings,
Soul II Soul,
Von Mondo,
Swell Maps,
Harmonia,
Kayak,
Juan Atkins,
John Foxx,
Dave Gahan,
The Toasters,
Alison Limerick,
Lightning Bolt,
Traffic Nightmare,
Lonnie Liston Smith,
The Knickerbockers, The Knickerbockers, The Knickerbockers, The Knickerbockers.
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.