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 Korea North and from Delhi.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Houston and Tehran.
I'm losing my edge to the art-school Johannesburg 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 David Bowie 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 Ronnie Foster to the grunge kids.
I played it at the Hacienda.
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 Gerry Rafferty. All the underground hits.
All Suburban Knight tracks. I heard you have a vinyl of every Moss Icon record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Names,
cv313,
Warsaw,
Marc Almond,
Loose Ends,
Amon Düül,
Sun Ra Arkestra,
Camberwell Now,
The Music Machine,
Urselle,
The Fall,
Buzzcocks,
Dawn Penn,
Underground Resistance,
Inner City,
10cc,
Scott Walker,
Spandau Ballet,
Marvin Gaye,
Soft Machine,
Silicon Teens,
Shoche,
Crispian St. Peters,
Brass Construction,
FM Einheit,
Drive Like Jehu,
MDC,
Fear,
Ornette Coleman,
Popol Vuh,
Moss Icon,
Dave Gahan,
Brothers Johnson,
The Victims,
Matthew Halsall,
A Certain Ratio,
L. Decosne,
The Shadows of Knight,
Sparks,
Hashim,
Jesper Dahlback,
Notorious BIG live in Amsterdam,
a-ha,
Lebanon Hanover,
Arthur Verocai,
Angels of Light & Akron/Family,
Oppenheimer Analysis,
David McCallum,
Stetsasonic,
Archie Shepp,
June Days,
Neil Young & Crazy Horse,
Peter & Gordon,
Rotary Connection,
Dual Sessions,
Mark Hollis,
Rhythm & Sound,
Junior Murvin,
Jacques Brel,
Circle Jerks,
Ash Ra Tempel,
Motorama,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.