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 Switzerland and from Calgary.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Houston and Salvador.
I'm losing my edge to the art-school Johannesburg 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the marimba 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 Black Bananas to the electroclash kids.
I played it at the Roxy.
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 Mo-Dettes. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every Roger Hodgson record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Lizzy Mercier Descloux record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stiv Bators,
Drive Like Jehu,
Louis and Bebe Barron,
Grandmaster Flash,
Tears for Fears,
Prince Buster,
DJ Style,
The Beau Brummels,
Black Flag,
Jerry Gold Smith,
Lucky Dragons,
Ultravox,
Althea and Donna,
The Mighty Diamonds,
Severed Heads,
Angels of Light & Akron/Family,
Duran Duran,
Faraquet,
Jesper Dahlbäck,
Suburban Knight,
The Young Rascals,
Magma,
The American Breed,
Rhythm & Sound,
The Seeds,
Buzzcocks,
Ten City,
The Index,
The Divine Comedy,
Kauko Röyhkä ja Narttu,
Monks,
Man Eating Sloth,
Sound Behaviour,
Crash Course in Science,
The Detroit Cobras,
The Trojans,
Bill Near,
Steve Hackett,
Toni Rubio,
Black Moon,
The Fuzztones,
The Smiths,
Massinfluence,
Guru Guru,
Connie Case,
Joensuu 1685,
Mary Jane Girls,
Fugazi,
The Fall,
China Crisis,
Radiopuhelimet,
Visionaries,LMNO, T- Love & Iriscience,
Supertramp,
Bobby Womack,
David McCallum,
Grandmaster Flash and the Furious Five,
Neil Young & Crazy Horse,
Jeru the Damaja,
The Men They Couldn't Hang,
Rod Modell,
Malaria!,
X-101,
Pantaleimon, Pantaleimon, Pantaleimon, Pantaleimon.
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.