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 Philippines and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Manchester and Hong Kong.
I'm losing my edge to the art-school Manchester 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 snare sounds with much patience.
I was there when Michael McDonald 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 Silicon Teens to the rap 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 The Count Five. All the underground hits.
All Rod Modell tracks. I heard you have a vinyl of every Thinking Fellers Union Local 282 record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Agitation Free record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Bauhaus,
Steve Hackett,
Silicon Teens,
Subhumans,
Magazine,
The Pop Group,
The Index,
Pussy Galore,
Camouflage,
Masters at Work,
Peter Gordon & Love of Life Orchestra,
the Soft Cell,
Anthony Braxton,
Hashim,
Ultravox,
Barclay James Harvest,
One Last Wish,
The Names,
Ken Boothe,
Tropical Tobacco,
Scott Walker,
Mantronix,
Wolf Eyes,
Joyce Sims,
Robert Hood,
Sonny Sharrock,
Notorious Big And Bone Thugs,
48th St. Collective,
Excepter,
Tommy Roe,
Banda Bassotti,
L. Decosne,
Niagra,
Piero Umiliani,
The Knickerbockers,
Cluster,
Glambeats Corp.,
Bobby Sherman,
Bob Dylan,
Kurtis Blow,
Donny Hathaway,
Minutemen,
Q and Not U,
Shuggie Otis,
Godley & Creme,
Severed Heads,
LL Cool J,
Marvin Gaye,
Technova,
Bootsy's Rubber Band,
Skaos,
Gregory Isaacs,
Gang Green,
Sarah Menescal,
John Foxx,
Vainqueur,
Royal Trux,
Television Personalities,
The Standells,
The United States of America,
Matthew Bourne,
Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic, Selector Dub Narcotic.
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.