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 Liberia and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1979.
I'm losing my edge.
To all the kids in Lagos and Mexico City.
I'm losing my edge to the art-school Tehran 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 clarinet sounds with much patience.
I was there when Captain Beefheart 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 The Human League to the disco 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 Leonard Cohen. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra 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 '80s cut and another box set from the '70s.
I hear you're buying a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
Yusef Lateef,
Howard Jones,
The Fuzztones,
The Mummies,
Janne Schatter,
Sonny Sharrock,
Lou Christie,
Johnny Clarke,
Marshall Jefferson,
Lee Hazlewood,
Cybotron,
Orchestral Manoeuvres in the Dark,
The Dave Clark Five,
Red Lorry Yellow Lorry,
Gregory Isaacs,
Spandau Ballet,
The Neon Judgement,
Soul Sonic Force,
Henry Cow,
Marc Almond,
Eli Mardock,
Lizzy Mercier Descloux,
Drexciya,
The Cure,
Bizarre Inc.,
Freddie Wadling,
Junior Murvin,
Spoonie Gee,
Porter Ricks,
Cluster,
Khruangbin,
The Jesus and Mary Chain,
Simply Red,
Public Image Ltd.,
Ultramagnetic MC's,
Deepchord,
The Trojans,
Roxy Music,
Nas,
Carl Craig,
Pole,
Yellowson,
Rowland S Howard / Lydia Lunch,
Max Romeo,
The Music Machine,
The Walker Brothers,
The West Coast Pop Art Experimental Band,
Bobby Byrd,
Minutemen,
The Barracudas,
Deutsch Amerikanische Freundschaft,
Eyeless In Gaza,
The Wake,
The Searchers,
Ten City,
Popol Vuh,
Dawn Penn,
The Doobie Brothers,
Matthew Halsall,
Pet Shop Boys, Pet Shop Boys, Pet Shop Boys, Pet Shop Boys.
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.