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 Papua New Guinea and from Edmonton.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Winnipeg and Paris.
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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the rhodes sounds with much patience.
I was there when Donald Fagen 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 Moleskins to the funk 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 Major Organ And The Adding Machine. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Max Romeo record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lalann,
Marc Almond,
Sunsets and Hearts,
Stereo Dub,
Graham Central Station,
Drive Like Jehu,
Arthur Verocai,
Magma,
Mad Mike,
Quadrant,
Heaven 17,
The Victims,
Hoover,
Depeche Mode,
Babytalk,
Lalo Schifrin,
Ultravox,
De La Soul & Jungle Brothers,
Qualms,
The Moody Blues,
Urselle,
Beasts of Bourbon,
New Order,
X-102,
Strawberry Alarm Clock,
Barry Ungar,
Adolescents,
Amon Düül,
Lightning Bolt,
Fifty Foot Hose,
Letta Mbulu,
Lafayette Afro Rock Band,
Bootsy Collins,
Dead Boys,
UT,
MDC,
Eurythmics,
Mark Hollis,
Aaron Thompson,
June of 44,
The Litter,
ABC,
Technova,
Laurel Aitken,
Mr. Review,
Eyeless In Gaza,
Eddi Front,
Ralphi Rosario,
London Community Gospel Choir,
Faust,
Sun Ra Arkestra,
Bootsy's Rubber Band,
Darondo,
Traffic Nightmare,
Siouxsie and the Banshees,
Model 500,
Rotary Connection,
The Neon Judgement,
Swell Maps,
Be Bop Deluxe,
Boogie Down Productions,
Sällskapet,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.