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 Uruguay and from Salvador.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Cairo and Glasgow.
I'm losing my edge to the art-school Tehran 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the oboe 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 Chrome to the grime 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 Suburban Knight. All the underground hits.
All The Monochrome Set tracks. I heard you have a vinyl of every Rosa Yemen record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Smog record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scientists,
The Black Dice,
Ten City,
DNA,
kango's stein massive,
Eric B and Rakim,
Rhythm & Sound,
Rhythim Is Rhythim,
Grandmaster Flash,
Richard Hell and the Voidoids,
Kayak,
The Smiths,
Minnie Riperton,
MDC,
Howard Jones,
Model 500,
the Fania All-Stars,
the Bar-Kays,
Icehouse,
Stiv Bators,
Sad Lovers and Giants,
Spoonie Gee,
Delta 5,
Panda Bear,
Gil Scott-Heron & Brian Jackson,
Bronski Beat,
Hasil Adkins,
Skarface,
Rosa Yemen,
Junior Murvin,
The American Breed,
Unwound,
Ultramagnetic MC's,
Joe Smooth,
The Trojans,
Crime,
Prince Buster,
Boredoms,
Q65,
Procol Harum,
Lizzy Mercier Descloux,
Selector Dub Narcotic,
Sugar Minott,
Spandau Ballet,
Fluxion,
Sällskapet,
Eli Mardock,
Royal Trux,
The Zeros,
Lou Christie,
Girls At Our Best!,
Lafayette Afro Rock Band,
The Standells,
KRS-One,
Roger Hodgson,
Pierre Henry,
Urselle,
Avey Tare,
The Sound,
The Birthday Party,
Sunsets and Hearts,
Lindisfarne,
Aural Exciters, Aural Exciters, Aural Exciters, Aural Exciters.
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.