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 Thailand and from Glasgow.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1960 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Copenhagen.
I'm losing my edge to the art-school Toronto 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Lindisfarne to the disco kids.
I played it at the Roxy.
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 Michelle Simonal. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal jazz 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 a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Robert Wyatt record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pet Shop Boys,
the Soft Cell,
Dorothy Ashby,
Camberwell Now,
Pharaoh Sanders and the Fire Engines,
Thompson Twins,
Lizzy Mercier Descloux,
Tim Buckley,
Second Layer,
Youth Brigade,
Traffic Nightmare,
Roxette,
This Heat,
ABBA,
Lakeside,
Spandau Ballet,
F. McDonald,
Lebanon Hanover,
Electric Prunes,
Sister Nancy,
Hot Snakes,
Charles Mingus,
The Fortunes,
Black Moon,
Brand Nubian,
Josef K,
Soft Cell,
The Pretty Things,
Matthew Bourne,
Moss Icon,
Supertramp,
Rosa Yemen,
The Star Department,
Michelle Simonal,
Aloha Tigers,
Eurythmics,
Infiniti,
Boredoms,
Underground Resistance,
Magazine,
The Pop Group,
Wally Richardson,
Marvin Gaye,
Andrew Hill,
Fort Wilson Riot,
Chrome,
Monks,
Susan Cadogan,
Moebius,
Byron Stingily,
Minutemen,
Delon & Dalcan,
Throbbing Gristle,
Eyeless In Gaza,
Swans,
Skarface,
Gil Scott-Heron & Brian Jackson,
The Residents,
Basic Channel,
Kings Of Tomorrow,
London Community Gospel Choir,
Y Pants,
Graham Central Station,
Danielle Patucci,
The J.B.'s, The J.B.'s, The J.B.'s, The J.B.'s.
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.