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 Mexico and from Columbus.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Woodstock and Lyon.
I'm losing my edge to the art-school Delhi 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 linndrum 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 T. Rex to the disco kids.
I played it at the Crocodile.
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 Pet Shop Boys. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Terror Squad Feat. Camron record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
These Immortal Souls,
Jesper Dahlbäck,
Michelle Simonal,
Gil Scott-Heron & Brian Jackson,
Oblivians,
Gang Green,
Buzzcocks,
Dead Boys,
Unrelated Segments,
New York Dolls,
Chris Corsano,
Trumans Water,
Man Parrish,
Con Funk Shun,
Terrestrial Tones,
LL Cool J,
Aural Exciters,
Dual Sessions,
Mo-Dettes,
Ponytail,
China Crisis,
The Names,
kango's stein massive,
Second Layer,
Susan Cadogan,
Inner City,
The Cramps,
Pagans,
Janne Schatter,
Jandek,
The Remains,
Yazoo,
Peter & Gordon,
Bootsy's Rubber Band,
Lou Christie,
Moss Icon,
Terror Squad Feat. Camron,
Jawbox,
The Fugs,
Symarip,
Avey Tare's Slasher Flicks,
Pylon,
Aloha Tigers,
Bill Near,
Vainqueur,
Public Enemy,
Masters at Work,
Kings Of Tomorrow,
The Blackbyrds,
Lucky Dragons,
PIL,
Nas,
Lakeside,
Red Lorry Yellow Lorry,
The Gories,
Peter and Kerry,
The Slits,
Strawberry Alarm Clock,
Country Joe & The Fish,
Outsiders,
Fad Gadget,
the Association,
Icehouse, Icehouse, Icehouse, Icehouse.
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.