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 South Africa and from Seoul.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1975.
I'm losing my edge.
To all the kids in Copenhagen and Johannesburg.
I'm losing my edge to the art-school Jakarta 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 mellotron 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 Gary Puckett & The Union Gap to the techno kids.
I played it at the Astoria.
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 Zapp. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every Rowland S Howard / Lydia Lunch record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Flesh Eaters,
Little Man,
The Index,
The Searchers,
Reuben Wilson,
Stereo Dub,
The Alarm Clocks,
Roy Ayers Ubiquity,
Rites of Spring,
Barbara Tucker,
Bootsy's Rubber Band,
The Move,
Jerry's Kids,
PIL,
Hoover,
Oppenheimer Analysis,
Tropical Tobacco,
Peter and Kerry,
Ronan,
Sound Behaviour,
Gregory Isaacs,
The Remains,
Amazonics,
Roy Ayers,
The Pop Group,
Hot Snakes,
Thinking Fellers Union Local 282,
The Cramps,
Pere Ubu,
Ultra Naté,
Röyhkä ja Rättö ja Lehtisalo,
Eric Copeland,
Eddi Front,
Johnny Clarke,
Maurizio,
Fluxion,
Liliput,
China Crisis,
The Music Machine,
Basic Channel,
Skarface,
Sonic Youth,
The Sonics,
The Star Department,
The Men They Couldn't Hang,
Scrapy,
the Germs,
Bobby Byrd,
Bizarre Inc.,
Fifty Foot Hose,
Blossom Toes,
Moebius,
Pussy Galore,
Minor Threat,
T. Rex,
Mission of Burma,
Orchestral Manoeuvres in the Dark,
Country Joe & The Fish,
Blake Baxter,
Justin Hinds & The Dominoes,
Excepter,
Altered Images,
The Divine Comedy,
Morten Harket, Morten Harket, Morten Harket, Morten Harket.
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.