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 Syria 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 1965 to 1970.
I'm losing my edge.
To all the kids in Woodstock and Copenhagen.
I'm losing my edge to the art-school Bremen 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 1984 at the first Arcadia practice in a loft in London.
I was working on the clarinet 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 Matthew Halsall to the electroclash kids.
I played it at Trash.
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 Hot Snakes. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Camron Feat. Jay Z And Juelz 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your 808 and bought an oboe.
I hear that you and your band have sold your oboe and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantaleimon,
Amon Düül,
Eve St. Jones,
Buzzcocks,
Flipper,
Barclay James Harvest,
the Normal,
Drexciya,
The Walker Brothers,
Parry Music,
Scrapy,
Sugar Minott,
The Flesh Eaters,
Babytalk,
The Knickerbockers,
The Fuzztones,
The Doobie Brothers,
Gian Franco Pienzio,
Junior Murvin,
The Associates,
Sight & Sound,
Zapp,
JFA,
Bobbi Humphrey,
Neu!,
The Seeds,
Glenn Branca,
Man Parrish,
Joensuu 1685,
Second Layer,
Suburban Knight,
Adolescents,
Liaisons Dangereuses,
Angels of Light & Akron/Family,
the Bar-Kays,
The Gladiators,
Gregory Isaacs,
Dawn Penn,
Henry Cow,
Al Stewart,
Theoretical Girls,
The Monks,
One Last Wish,
Metal Thangz,
Swans,
Jeru the Damaja,
Crispy Ambulance,
Major Organ And The Adding Machine,
Ituana,
Model 500,
Brass Construction,
The West Coast Pop Art Experimental Band,
The Move,
Bang on a Can All-Stars,
Blake Baxter,
Audionom,
Groovy Waters,
Zero Boys,
Black Sheep,
Sun Ra Arkestra,
The Shadows of Knight,
Nirvana,
Davy DMX,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.