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 Croatia and from Lyon.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Bologna and Portland.
I'm losing my edge to the art-school Hong Kong 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 1976 at the first Wire practice in a loft in Watford.
I was working on the synthesizer 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 Rod Modell to the jazz kids.
I played it at the Spitz.
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 Scott Walker. All the underground hits.
All T.S.O.L. tracks. I heard you have a vinyl of every Basic Channel record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Birthday Party record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pagans,
The Remains,
Traffic Nightmare,
Ronnie Foster,
Strawberry Alarm Clock,
Skriet,
Jimmy McGriff,
Clear Light,
The Star Department,
Mary Jane Girls,
Fugazi,
Al Stewart,
The Wake,
Lee Hazlewood,
Stiv Bators,
Crime,
Althea and Donna,
Lindisfarne,
Silicon Teens,
Matthew Bourne,
Lower 48,
Sad Lovers and Giants,
Altered Images,
Trumans Water,
Excepter,
Don Cherry,
The Invisible,
Pere Ubu,
The Moleskins,
JFA,
Justin Hinds & The Dominoes,
Vaughan Mason & Crew,
Ultramagnetic MC's,
Bizarre Inc.,
Kurtis Blow,
Orchestral Manoeuvres in the Dark,
Scott Walker,
Section 25,
The American Breed,
PIL,
The Names,
Tears for Fears,
Blake Baxter,
Wolf Eyes,
Bootsy's Rubber Band,
The Last Poets,
Glambeats Corp.,
Bobby Womack,
Erykah Badu,
This Heat,
Joy Division,
Black Moon,
Q and Not U,
Wasted Youth,
Agent Orange,
Theoretical Girls,
Drexciya,
DJ Sneak,
The Monochrome Set,
Iggy Pop,
Aural Exciters,
Scion,
The Motions, The Motions, The Motions, The Motions.
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.