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 Tanzania and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Hong Kong and Johannesburg.
I'm losing my edge to the art-school Copenhagen 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 808 sounds with much patience.
I was there when David Bowie 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 Matthew Halsall to the techno kids.
I played it at the Troubador.
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 Pylon. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Gary Puckett & The Union Gap record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your oboe and bought a theremin.
I hear that you and your band have sold your theremin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alphaville,
Glenn Branca,
Desert Stars,
Hot Snakes,
Aloha Tigers,
Tommy Roe,
The Electric Prunes,
Trumans Water,
Slick Rick,
Livin' Joy,
The Evens,
Selector Dub Narcotic,
The Techniques,
The Victims,
Yazoo,
Ronan,
Eyeless In Gaza,
The United States of America,
the Bar-Kays,
Soft Machine,
Agitation Free,
Quando Quango,
The Moody Blues,
In Retrospect,
Ultimate Spinach,
Archie Shepp,
Sandy B,
The Blackbyrds,
The Mojo Men,
Echo & the Bunnymen,
Sex Pistols,
The Doors,
Second Layer,
Nick Cave & The Bad Seeds,
Man Parrish,
The Shadows of Knight,
The Music Machine,
The Invisible,
Boredoms,
Animal Collective,
Kenny Larkin,
MC5,
Robert Hood,
Royal Trux,
Gang Green,
Connie Case,
Sad Lovers and Giants,
John Lydon,
Nas,
R.M.O.,
Charles Mingus,
Ash Ra Tempel,
Public Image Ltd.,
The Cowsills,
Youth Brigade,
JFA,
The Names,
Minnie Riperton,
Flamin' Groovies,
Colin Newman,
These Immortal Souls,
Deepchord,
The Royal Family And The Poor,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.