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 Kiribati and from Johannesburg.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Seoul and Paris.
I'm losing my edge to the art-school Calgary 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 synthesizer 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 Dual Sessions to the electroclash kids.
I played it at the Spitz.
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 Joe Smooth. All the underground hits.
All Scion tracks. I heard you have a vinyl of every The Real Kids 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 '80s cut and another box set from the '80s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Men They Couldn't Hang record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Massinfluence,
Radio Birdman,
The Mummies,
Crooked Eye,
Suicide,
Mad Mike,
Dark Day,
Tomorrow,
The American Breed,
Soft Machine,
Technova,
Silicon Teens,
Archie Shepp,
The Peanut Butter Conspiracy,
Jeru the Damaja,
Banda Bassotti,
The Litter,
Letta Mbulu,
Kings Of Tomorrow,
Junior Murvin,
Robert Wyatt,
Fifty Foot Hose,
Nils Olav,
Outsiders,
Trumans Water,
Henry Cow,
Young Marble Giants,
Delon & Dalcan,
Hashim,
Anakelly,
Freddie Wadling,
Brick,
Unwound,
The Fugs,
Connie Case,
MDC,
Bill Near,
DNA,
Colin Newman,
Gabor Szabo,
Donny Hathaway,
Kaleidoscope,
Hasil Adkins,
Radiopuhelimet,
Skriet,
The Leaves,
Severed Heads,
The Gories,
The Saints,
Warren Ellis,
Avey Tare & Kría Brekkan,
Barbara Tucker,
Vaughan Mason & Crew,
June Days,
Schoolly D,
The Real Kids,
Dead Boys,
Bluetip,
Agent Orange,
Zero Boys,
Boredoms,
Quando Quango,
Marcia Griffiths,
Average White Band, Average White Band, Average White Band, Average White Band.
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.