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 Japan 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 1972.
I'm losing my edge.
To all the kids in Glasgow and Johannesburg.
I'm losing my edge to the art-school Tokyo 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 Throbbing Gristle practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Bronski Beat to the punk kids.
I played it at the Roxy.
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 Skaos. All the underground hits.
All Grandmaster Flash tracks. I heard you have a vinyl of every DJ Style 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 '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Alice Coltrane record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Human League,
The Stooges,
Von Mondo,
Johnny Clarke,
Art Ensemble Of Chicago,
Kango’s Stein Massive,
Carl Craig,
Girls At Our Best!,
the Association,
Surgeon,
Mantronix,
The Moody Blues,
Thee Headcoats,
Black Flag,
Althea and Donna,
Skaos,
Tomorrow,
Blossom Toes,
Lightning Bolt,
Neu!,
Panda Bear,
Ultravox,
Scott Walker,
The Busters,
New York Dolls,
Jesper Dahlback,
Chris Corsano,
Darondo,
Tim Buckley,
The Fuzztones,
Yellowson,
Lou Reed & John Cale,
Wolf Eyes,
Kool Moe Dee,
Talk Talk,
Second Layer,
Unrelated Segments,
One Last Wish,
Pulsallama,
H. Thieme,
Fifty Foot Hose,
The Blues Magoos,
Major Organ And The Adding Machine,
Scan 7,
These Immortal Souls,
Idris Muhammad,
Cabaret Voltaire,
The Sound,
Babytalk,
The Mighty Diamonds,
Shoche,
Black Bananas,
Brothers Johnson,
DJ Sneak,
The United States of America,
The Count Five,
Vaughan Mason & Crew,
A Flock of Seagulls,
Alton Ellis,
kango's stein massive,
U.S. Maple,
Byron Stingily,
John Foxx, John Foxx, John Foxx, John Foxx.
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.