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 Uzbekistan and from Manchester.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Mumbai and Bremen.
I'm losing my edge to the art-school Johannesburg 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 guitar sounds with much patience.
I was there when Lou Reed 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 Drive Like Jehu to the dance 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 Joe Smooth. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every Severed Heads 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 '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
Bob Dylan,
Swell Maps,
Nirvana,
X-102,
The Motions,
New York Dolls,
The Shadows of Knight,
Roxette,
Neil Young & Crazy Horse,
Deepchord,
The Moleskins,
Ornette Coleman,
Captain Beefheart & His Magic Band,
Larry & the Blue Notes,
The Wake,
Mandrill,
Michelle Simonal,
The Invisible,
Pharaoh Sanders and the Fire Engines,
Lindisfarne,
Joe Smooth,
Saccharine Trust,
Dark Day,
T. Rex,
Gang Starr,
Suicide,
Yellowson,
The Smiths,
The Cure,
Lizzy Mercier Descloux,
Sly & The Family Stone,
The West Coast Pop Art Experimental Band,
The Divine Comedy,
Supertramp,
Gichy Dan,
Camberwell Now,
Malaria!,
Con Funk Shun,
Excepter,
The Residents,
Jeru the Damaja,
Dawn Penn,
Be Bop Deluxe,
Agent Orange,
New Age Steppers,
Von Mondo,
The Count Five,
Scott Walker + Sunn O))),
Sun City Girls,
June Days,
The Doobie Brothers,
Sister Nancy,
The J.B.'s,
E-Dancer,
Gang of Four,
Gang Gang Dance,
Tim Buckley,
B.T. Express, B.T. Express, B.T. Express, B.T. Express.
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.