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 Sudan and from Paris.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1978.
I'm losing my edge.
To all the kids in Halifax and Milan.
I'm losing my edge to the art-school Spokane 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 rhodes sounds with much patience.
I was there when Lou Reed 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 Harry Pussy to the disco kids.
I played it at CBGB's.
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 Audionom. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every Pussy Galore record on German import.
I heard that you have a white label of every seminal rock 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 synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
Rekid,
Neil Young,
The Grass Roots,
Boogie Down Productions,
Stereo Dub,
The Remains,
Pylon,
Aaron Thompson,
Chris & Cosey,
Al Stewart,
Ten City,
a-ha,
Soul II Soul,
E-Dancer,
Heavy D & The Boyz,
Bizarre Inc.,
Crash Course in Science,
Arthur Verocai,
Supertramp,
The Cowsills,
David Axelrod,
The Red Krayola,
Cheater Slicks,
Average White Band,
Crooked Eye,
Siglo XX,
The Litter,
Gong,
Roy Ayers,
China Crisis,
Ponytail,
Nirvana,
Roxette,
A Certain Ratio,
The Chocolate Watch Band,
Bad Manners,
Kayak,
Harry Pussy,
Eddi Front,
Soft Cell,
Infiniti,
The Vogues,
Thee Headcoats,
The Barracudas,
Hashim,
The Divine Comedy,
The United States of America,
Gabor Szabo,
Spandau Ballet,
The Fortunes,
Amazonics,
JFA,
Young Marble Giants,
Laurel Aitken,
Babytalk,
Country Joe & The Fish,
R.M.O.,
Technova,
Sad Lovers and Giants,
Orchestral Manoeuvres in the Dark,
Rowland S Howard / Lydia Lunch,
Magazine,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.