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 Armenia and from Lyon.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1977.
I'm losing my edge.
To all the kids in Cairo and Philadelphia.
I'm losing my edge to the art-school Toronto 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 theremin sounds with much patience.
I was there when Robert Palmer 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 The Monks to the electroclash 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 Lonnie Liston Smith. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every the Slits 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 '60s cut and another box set from the '80s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nico,
Siouxsie and the Banshees,
Grandmaster Flash,
Circle Jerks,
The Evens,
Major Organ And The Adding Machine,
Minny Pops,
Roger Hodgson,
The Gories,
Todd Terry,
Average White Band,
the Association,
Patti Smith,
Little Man,
The Doors,
Fatback Band,
LL Cool J,
Bootsy Collins,
Lower 48,
Q65,
Funkadelic,
Talk Talk,
Gang Gang Dance,
Flamin' Groovies,
Isaac Hayes,
Suicide,
Lizzy Mercier Descloux,
OOIOO,
Lee Hazlewood,
Erasure,
The Beau Brummels,
Ultra Naté,
Sad Lovers and Giants,
The Selecter,
Crispy Ambulance,
Grey Daturas,
Hoover,
Art Ensemble Of Chicago,
Junior Murvin,
Minutemen,
Carl Craig,
Godley & Creme,
Kauko Röyhkä ja Narttu,
Lou Christie,
Lindisfarne,
The Barracudas,
David Axelrod,
Maleditus Sound,
Gregory Isaacs,
Wolf Eyes,
Prince Buster,
The Star Department,
Man Parrish,
The Index,
Delta 5,
Angry Samoans,
Radiohead,
Aloha Tigers,
Throbbing Gristle,
Joe Smooth,
Marine Girls,
Barrington Levy, Barrington Levy, Barrington Levy, Barrington Levy.
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.