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 Columbus.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1976.
I'm losing my edge.
To all the kids in Philadelphia and Milan.
I'm losing my edge to the art-school Manchester 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 harpsichord 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 Be Bop Deluxe to the punk kids.
I played it at Trash.
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 Supertramp. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every The Vogues record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Knickerbockers,
Drive Like Jehu,
Lou Reed & Metallica,
Das Ding,
Ponytail,
John Lydon,
DJ Sneak,
Godley & Creme,
Louis and Bebe Barron,
Magma,
Eden Ahbez,
Bauhaus,
Lafayette Afro Rock Band,
Pole,
Angry Samoans,
Sam Rivers,
Piero Umiliani,
The Black Dice,
The Wake,
Marc Almond,
Stetsasonic,
Joensuu 1685,
Audionom,
Soul Sonic Force,
Lakeside,
Basic Channel,
Electric Light Orchestra,
Rod Modell,
Zero Boys,
Grandmaster Flash,
Desert Stars,
Crash Course in Science,
Procol Harum,
Magazine,
Gian Franco Pienzio,
Kas Product,
Banda Bassotti,
Cal Tjader,
Q and Not U,
Morten Harket,
In Retrospect,
The Blues Magoos,
Alphaville,
Aswad,
Faraquet,
Supertramp,
The Martian,
Pantytec,
Notorious BIG live in Amsterdam,
The Jesus and Mary Chain,
Urselle,
Jacob Miller,
The Durutti Column,
Shuggie Otis,
Rekid,
The Barracudas,
48th St. Collective,
Vaughan Mason & Crew,
Lindisfarne,
Theoretical Girls,
Electric Prunes,
Lebanon Hanover,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.