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 Guatemala and from Mumbai.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1961 to 1974.
I'm losing my edge.
To all the kids in London and Jakarta.
I'm losing my edge to the art-school Copenhagen 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 oboe 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 Desert Stars to the rap kids.
I played it at the Astoria.
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 Howard Jones. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Robert Hood 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 '90s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Funky Four + One record.
I hear that you and your band have sold your clarinet and bought a 808.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kaleidoscope,
Throbbing Gristle,
Gichy Dan,
Andrew Ashong & Theo Parrish,
Interpol,
The Selecter,
Susan Cadogan,
T. Rex,
Royal Trux,
Magma,
Aswad,
Scion,
The Mighty Diamonds,
The Dirtbombs,
CMW,
The Blues Magoos,
The Walker Brothers,
Roger Hodgson,
Bobby Sherman,
Marvin Gaye,
Maleditus Sound,
Marc Romboy vs. Booka Shade,
Laurel Aitken,
Teenage Jesus and the Jerks,
Grauzone,
Vainqueur,
Black Bananas,
Essential Logic,
Ultravox,
Avey Tare's Slasher Flicks,
Ponytail,
Barclay James Harvest,
Harpers Bizarre,
Q and Not U,
Bang On A Can,
Avey Tare & Kría Brekkan,
Inner City,
Kenny Larkin,
Simply Red,
New York Dolls,
Model 500,
The Fuzztones,
Sexual Harrassment,
Joey Negro,
The Monochrome Set,
Bang on a Can All-Stars,
Fat Boys,
Gastr Del Sol,
The Velvet Underground,
Peter & Gordon,
Drive Like Jehu,
Youth Brigade,
The J.B.'s,
Traffic Nightmare,
Soul Sonic Force,
Lou Reed & Metallica,
Kings Of Tomorrow,
Gil Scott Heron,
The Shadows of Knight,
Audionom,
Wasted Youth, Wasted Youth, Wasted Youth, Wasted Youth.
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.