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 Tonga and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 Bremen and Bremen.
I'm losing my edge to the art-school Salvador 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the oboe 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 Peter and Kerry to the rock 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 Newcleus. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every Faust record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a June Days record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Reuben Wilson,
Rowland S Howard / Lydia Lunch,
Pagans,
The Wake,
Second Layer,
Thee Headcoats,
Boogie Down Productions,
Quadrant,
Electric Light Orchestra,
The Real Kids,
Wolf Eyes,
Ohio Players,
Yazoo,
Scion,
Gil Scott-Heron & Brian Jackson,
Andrew Hill,
Jimmy McGriff,
Oblivians,
Gian Franco Pienzio,
Popol Vuh,
Eric B and Rakim,
Erasure,
Minutemen,
Glenn Branca,
Howard Jones,
De La Soul & Jungle Brothers,
Rod Modell,
Ten City,
The Golliwogs,
Saccharine Trust,
Nik Kershaw,
June of 44,
Man Eating Sloth,
Faraquet,
Masters at Work,
The Red Krayola,
Fort Wilson Riot,
The Searchers,
Todd Terry,
Robert Görl,
Rakim,
Glambeats Corp.,
The Fire Engines,
Grandmaster Flash and the Furious Five,
Rites of Spring,
Circle Jerks,
Freddie Wadling,
Marc Almond,
Ken Boothe,
Black Flag,
the Association,
Black Moon,
The Angels of Light,
Motorama,
Lightning Bolt,
Deadbeat,
Bill Wells,
The Busters,
Cecil Taylor,
Vainqueur,
Main Source, Main Source, Main Source, Main Source.
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.