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 Brazil and from Edmonton.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and London.
I'm losing my edge to the art-school Glasgow 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Soulsonic Force to the funk 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 Kerrie Biddell. All the underground hits.
All Nils Olav tracks. I heard you have a vinyl of every Marc Almond record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Mary Jane Girls record.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Zero Boys,
Tommy Roe,
Echospace,
Aaron Thompson,
Hot Snakes,
Easy Going,
Darondo,
A Certain Ratio,
Howard Jones,
The Grass Roots,
The Offenders,
The Mighty Diamonds,
Richard Hell and the Voidoids,
Roger Hodgson,
The Seeds,
Sight & Sound,
Make Up,
The Fugs,
Todd Terry,
Gang Green,
Pierre Henry,
Y Pants,
the Soft Cell,
Thee Headcoats,
Jerry's Kids,
The New Christs,
Black Pus,
Jimmy McGriff,
Roy Ayers,
Roxette,
The Skatalites,
Teenage Jesus and the Jerks,
Brothers Johnson,
Alison Limerick,
Sound Behaviour,
Harry Pussy,
Hasil Adkins,
The Detroit Cobras,
The Moody Blues,
Unwound,
Peter and Kerry,
The Associates,
Ultimate Spinach,
Subhumans,
Sister Nancy,
The Divine Comedy,
Nation of Ulysses,
The Walker Brothers,
The J.B.'s,
The Leaves,
The Count Five,
The Fall,
Goldenarms,
the Association,
Spoonie Gee,
Laurel Aitken,
De La Soul & Jungle Brothers,
Eddi Front,
The Mojo Men,
Radio Birdman,
Adolescents,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.