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 Kuwait and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1976.
I'm losing my edge.
To all the kids in Columbus and Accra.
I'm losing my edge to the art-school Bremen 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 1976 at the first Wire practice in a loft in Watford.
I was working on the oboe sounds with much patience.
I was there when Donald Fagen 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 James White and The Blacks to the disco 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 the Germs. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every Jeff Lynne record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Connie Case record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
Magma,
The Searchers,
The Victims,
Theoretical Girls,
The Smoke,
Matthew Bourne,
Newcleus,
Brand Nubian,
Scott Walker + Sunn O))),
Gang Green,
Khruangbin,
Motorama,
Roger Hodgson,
Ultra Naté,
The Birthday Party,
Tomorrow,
the Fania All-Stars,
Dual Sessions,
Todd Terry,
Avey Tare & Kría Brekkan,
ABC,
Grandmaster Flash and the Furious Five,
Ornette Coleman,
Suicide,
LL Cool J,
Monks,
The Slits,
H. Thieme,
Lalo Schifrin,
Quando Quango,
Byron Stingily,
Bluetip,
Sparks,
Von Mondo,
Spoonie Gee,
10cc,
X-101,
Electric Light Orchestra,
The Remains,
Sonic Youth,
Neil Young & Crazy Horse,
Rowland S Howard / Lydia Lunch,
The Knickerbockers,
Marine Girls,
Joe Smooth,
Drive Like Jehu,
Sex Pistols,
Severed Heads,
Amazonics,
Yaz,
Bob Dylan,
Althea and Donna,
The Dirtbombs,
The Vogues,
Michelle Simonal,
Barclay James Harvest,
The Grass Roots,
Depeche Mode,
Sällskapet,
Sun City Girls,
Fluxion, Fluxion, Fluxion, Fluxion.
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.