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 Andorra and from Lille.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1968 to 1978.
I'm losing my edge.
To all the kids in Johannesburg and Stockholm.
I'm losing my edge to the art-school Mexico City 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 theremin 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 New York Dolls to the rap kids.
I played it at the Astoria.
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 Charles Mingus. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Flash Fearless 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 '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Malaria! record.
I hear that you and your band have sold your oboe and bought a guitar.
I hear that you and your band have sold your guitar and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
Index,
Soul II Soul,
Malaria!,
Au Pairs,
Connie Case,
Alphaville,
Sunsets and Hearts,
Lou Reed & John Cale,
T. Rex,
Nils Olav,
LL Cool J,
Pantytec,
Harmonia,
Visionaries,LMNO, T- Love & Iriscience,
Q65,
Delta 5,
Liliput,
Fifty Foot Hose,
The Doors,
The Smoke,
Cybotron,
Tears for Fears,
Juan Atkins,
Matthew Bourne,
The Star Department,
Leonard Cohen,
In Retrospect,
The Evens,
Marmalade,
Ken Boothe,
Babytalk,
Roger Hodgson,
The Gories,
DeepChord presents Echospace,
Soft Cell,
Jacques Brel,
Pharoah Sanders,
Dark Day,
the Bar-Kays,
Derrick Morgan,
Outsiders,
Ponytail,
Notorious BIG live in Amsterdam,
The Pop Group,
The Music Machine,
Gong,
Marvin Gaye,
Amon Düül,
Kool Moe Dee,
Wire,
Eric Copeland,
Severed Heads,
Tres Demented,
Radiopuhelimet,
Ronan,
Brand Nubian,
Neil Young,
Goldenarms,
Heaven 17,
Crooked Eye,
Man Eating Sloth, Man Eating Sloth, Man Eating Sloth, Man Eating Sloth.
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.