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 Zimbabwe and from London.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Lagos and Paris.
I'm losing my edge to the art-school New York 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 theremin 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 L. Decosne to the electroclash 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 Camron Feat. Jay Z And Juelz. All the underground hits.
All K-Klass tracks. I heard you have a vinyl of every Nation of Ulysses 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 '70s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Average White Band,
Brass Construction,
Morten Harket,
The Jesus and Mary Chain,
Ronan,
Nils Olav,
Gichy Dan,
Byron Stingily,
Kenny Larkin,
The Kinks,
Jandek,
Red Lorry Yellow Lorry,
The United States of America,
Altered Images,
Swans,
Sun Ra Arkestra,
Pussy Galore,
Camouflage,
Moss Icon,
Grauzone,
The Sisters of Mercy,
Bauhaus,
The Seeds,
Masters at Work,
Joe Finger,
Girls At Our Best!,
Scan 7,
Underground Resistance,
Prince Buster,
Quadrant,
Sad Lovers and Giants,
The Count Five,
The New Christs,
Sister Nancy,
The Barracudas,
Matthew Halsall,
The Gun Club,
The Standells,
Clear Light,
Crash Course in Science,
Au Pairs,
Rites of Spring,
The Selecter,
Main Source,
The Index,
The Cure,
Angry Samoans,
Y Pants,
Strawberry Alarm Clock,
Hasil Adkins,
Massinfluence,
Neil Young & Crazy Horse,
Faust,
Oneida,
Bootsy's Rubber Band,
the Fania All-Stars,
Tomorrow,
Loose Ends,
Young Marble Giants,
Sandy B,
Eli Mardock, Eli Mardock, Eli Mardock, Eli Mardock.
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.