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 Turkmenistan and from Lyon.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Seoul.
I'm losing my edge to the art-school Hong Kong 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Soft Cell 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 Japan. All the underground hits.
All Kayak tracks. I heard you have a vinyl of every The Jesus and Mary Chain record on German import.
I heard that you have a white label of every seminal dance 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 rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ossler,
Warsaw,
Brand Nubian,
Masters at Work,
PIL,
Nils Olav,
Theoretical Girls,
Traffic Nightmare,
The Cure,
The Detroit Cobras,
Newcleus,
Lee Hazlewood,
Hashim,
Albert Ayler,
Alton Ellis,
Qualms,
China Crisis,
Anthony Braxton,
Zero Boys,
Nirvana,
Isaac Hayes,
Crispy Ambulance,
Thompson Twins,
Mandrill,
Organ,
La Düsseldorf,
Grey Daturas,
The Standells,
Nas,
The American Breed,
Magma,
Jeff Mills,
Super Lover Cee & Casanova Rud,
Stockholm Monsters,
Sun Ra Arkestra,
Wally Richardson,
Rhythim Is Rhythim,
Rapeman,
Quadrant,
Deutsch Amerikanische Freundschaft,
Erasure,
The Sound,
The Peanut Butter Conspiracy,
Pulsallama,
The Golliwogs,
Sexual Harrassment,
Public Image Ltd.,
Kerrie Biddell,
Freddie Wadling,
Avey Tare's Slasher Flicks,
Ken Boothe,
Nation of Ulysses,
Visage,
The Jesus and Mary Chain,
James Chance & The Contortions,
Johnny Osbourne,
Radiopuhelimet,
Crash Course in Science,
Lalo Schifrin,
The Litter,
Agent Orange,
U.S. Maple,
Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes.
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.