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 Fiji and from Bologna.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Madrid.
I'm losing my edge to the art-school Manchester 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 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 DJ Style to the electroclash 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 Nik Kershaw. All the underground hits.
All Blossom Toes tracks. I heard you have a vinyl of every Spoonie Gee record on German import.
I heard that you have a white label of every seminal jazz 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 linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
June of 44,
The Slits,
The Doobie Brothers,
Bush Tetras,
Groovy Waters,
Section 25,
Terry Callier,
Captain Beefheart & His Magic Band,
48th St. Collective,
Rod Modell,
Soft Machine,
Thompson Twins,
Bobbi Humphrey,
The Moleskins,
Electric Light Orchestra,
The Black Dice,
Lou Christie,
Echospace,
Notorious BIG live in Amsterdam,
Judy Mowatt,
Rufus Thomas,
Marshall Jefferson,
Jeff Lynne,
The Dave Clark Five,
World's Most,
The Moody Blues,
The Victims,
Harmonia,
Gary Puckett & The Union Gap,
X-101,
Röyhkä ja Rättö ja Lehtisalo,
Peter Gordon & Love of Life Orchestra,
Roxette,
Avey Tare's Slasher Flicks,
Cal Tjader,
The Motions,
the Sonics,
Infiniti,
Liliput,
Jacques Brel,
The Monochrome Set,
A Certain Ratio,
Yellowson,
Pierre Henry,
The Chocolate Watch Band,
Louis and Bebe Barron,
The Gap Band,
Hoover,
Fluxion,
China Crisis,
Joy Division,
Gerry Rafferty,
Bobby Womack,
The Angels of Light,
Jacob Miller,
Rekid,
Lee Hazlewood,
Dark Day,
The Offenders,
Gang of Four,
Lower 48, Lower 48, Lower 48, Lower 48.
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.