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 Honduras and from Houston.
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 Seoul and Portland.
I'm losing my edge to the art-school Jakarta 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 Ubu practice in a loft in Cleveland.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Harpers Bizarre to the disco 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 Jesper Dahlback. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Visage record on German import.
I heard that you have a white label of every seminal grime 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 a clarinet and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Y Pants,
Mr. Review,
Au Pairs,
The Velvet Underground,
Hot Snakes,
Neil Young,
Deepchord,
The Remains,
Kango’s Stein Massive,
Eurythmics,
Section 25,
Orchestral Manoeuvres in the Dark,
Lee Hazlewood,
The Durutti Column,
Lakeside,
Young Marble Giants,
Tim Buckley,
Brass Construction,
Bobby Sherman,
Girls At Our Best!,
Frankie Knuckles,
Livin' Joy,
Grandmaster Flash and the Furious Five,
The J.B.'s,
Fear,
Yazoo,
Public Enemy,
The Barracudas,
De La Soul & Jungle Brothers,
Sparks,
Funky Four + One,
Godley & Creme,
Goldenarms,
Arthur Verocai,
Gerry Rafferty,
the Soft Cell,
David Axelrod,
Groovy Waters,
It's A Beautiful Day,
Technova,
Skarface,
Loose Ends,
Soul Sonic Force,
Tears for Fears,
The Royal Family And The Poor,
The Victims,
Alton Ellis,
Albert Ayler,
Soft Cell,
Sad Lovers and Giants,
Rakim,
Selector Dub Narcotic,
Pole,
Porter Ricks,
The Offenders,
China Crisis,
Wally Richardson,
Nick Cave & The Bad Seeds,
Larry & the Blue Notes,
The Move,
Brick,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.