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 Antigua and from Salvador.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and New York.
I'm losing my edge to the art-school Stockholm 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Chocolate Watch Band to the jazz 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 One Last Wish. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every The Cowsills record on German import.
I heard that you have a white label of every seminal rap 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 linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a John Cale record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Moby Grape,
The Buckinghams,
The Men They Couldn't Hang,
Sad Lovers and Giants,
Kauko Röyhkä ja Narttu,
Magazine,
Rod Modell,
Rotary Connection,
Mark Hollis,
Bush Tetras,
L. Decosne,
Bill Wells,
Bobby Sherman,
Scion,
The Velvet Underground,
The Standells,
Bobby Byrd,
The Remains,
Ten City,
Organ,
Flamin' Groovies,
The Zeros,
The Neon Judgement,
The Moleskins,
Scan 7,
Ossler,
Joe Smooth,
Y Pants,
Marshall Jefferson,
The Durutti Column,
Suicide,
The Gories,
Minor Threat,
Gang Green,
Electric Prunes,
Barbara Tucker,
The Birthday Party,
Juan Atkins,
Skaos,
The Associates,
This Heat,
Ituana,
Eddi Front,
Black Bananas,
Grandmaster Flash and the Furious Five,
Marmalade,
Todd Terry,
Gil Scott Heron,
The Dirtbombs,
Visage,
Sex Pistols,
the Bar-Kays,
Deakin,
Basic Channel,
The Residents,
Hot Snakes,
Los Fastidios,
X-102,
Major Organ And The Adding Machine,
In Retrospect, In Retrospect, In Retrospect, In Retrospect.
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.