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 Comoros and from Seoul.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1973.
I'm losing my edge.
To all the kids in Edmonton and Manchester.
I'm losing my edge to the art-school Tokyo 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 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 The Remains to the electroclash kids.
I played it at the Troubador.
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 Sonic Youth. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Tremeloes,
Symarip,
John Cale,
Donny Hathaway,
Dawn Penn,
Bronski Beat,
Laurel Aitken,
Wings,
Slave,
Howard Jones,
Young Marble Giants,
Drexciya,
Sonny Sharrock,
Yusef Lateef,
The Fortunes,
Flash Fearless,
Josef K,
John Coltrane,
Steve Hackett,
The Techniques,
The Toasters,
Newcleus,
The Sonics,
Kauko Röyhkä ja Narttu,
Roger Hodgson,
The Sisters of Mercy,
Make Up,
The Victims,
Rhythim Is Rhythim,
London Community Gospel Choir,
Intrusion,
Ash Ra Tempel,
The Durutti Column,
Sun City Girls,
Moby Grape,
Jesper Dahlback,
Black Flag,
Lower 48,
Yaz,
Dual Sessions,
Deakin,
The Modern Lovers,
Gabor Szabo,
Stiv Bators,
Marshall Jefferson,
Eddi Front,
Lyres,
The Doobie Brothers,
Delon & Dalcan,
Pierre Henry,
Skriet,
Outsiders,
Rowland S Howard / Lydia Lunch,
Soul II Soul,
Public Enemy,
Gary Puckett & The Union Gap,
Brick,
The Human League,
Girls At Our Best!,
The New Christs,
The Velvet Underground,
Juan Atkins,
cv313, cv313, cv313, cv313.
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.