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 Somalia and from Beijing.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Tokyo.
I'm losing my edge to the art-school Sao Paulo 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 guitar 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 Gregory Isaacs to the electroclash kids.
I played it at the 40 Watt.
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 A Flock of Seagulls. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Aloha Tigers 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 '90s.
I hear you're buying a sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
the Association,
U.S. Maple,
Deakin,
ABBA,
Smog,
Gong,
8 Eyed Spy,
Radiohead,
Deadbeat,
Matthew Halsall,
Peter and Kerry,
The Selecter,
Warsaw,
Harpers Bizarre,
Von Mondo,
Don Cherry,
Young Marble Giants,
Boogie Down Productions,
10cc,
Public Image Ltd.,
Throbbing Gristle,
The Beau Brummels,
Gil Scott Heron,
The Dirtbombs,
Slick Rick,
Goldenarms,
Sandy B,
Barrington Levy,
Bush Tetras,
Lalo Schifrin,
The Offenders,
James Chance & The Contortions,
Pierre Henry,
Roger Hodgson,
Derrick May,
Flamin' Groovies,
Kerrie Biddell,
Teenage Jesus and the Jerks,
Silicon Teens,
Albert Ayler,
Eddi Front,
Fluxion,
London Community Gospel Choir,
cv313,
Supertramp,
Junior Murvin,
The Jesus and Mary Chain,
Rapeman,
The J.B.'s,
Althea and Donna,
B.T. Express,
Brick,
Guru Guru,
The Toasters,
Liaisons Dangereuses,
Letta Mbulu,
Whodini,
Model 500,
Notorious Big And Bone Thugs,
Major Organ And The Adding Machine,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.