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 Brazil and from Stockholm.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Taipei and Tehran.
I'm losing my edge to the art-school Woodstock 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 sitar sounds with much patience.
I was there when Robert Palmer 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 electroclash kids.
I played it at the Crocodile.
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 Severed Heads. All the underground hits.
All Siglo XX tracks. I heard you have a vinyl of every Hashim 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your guitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zero Boys,
Stiv Bators,
Albert Ayler,
Suburban Knight,
Gastr Del Sol,
Judy Mowatt,
Q65,
Siouxsie and the Banshees,
Fort Wilson Riot,
The Kinks,
Kauko Röyhkä ja Narttu,
Black Pus,
The Fugs,
T.S.O.L.,
Beasts of Bourbon,
Roger Hodgson,
Talk Talk,
Larry & the Blue Notes,
KRS-One,
Andrew Ashong & Theo Parrish,
Mantronix,
Yaz,
Tropical Tobacco,
The Moleskins,
Dark Day,
MC5,
The United States of America,
The Men They Couldn't Hang,
Wire,
The West Coast Pop Art Experimental Band,
Roy Ayers,
Ash Ra Tempel,
Wasted Youth,
Selector Dub Narcotic,
Graham Central Station,
The Selecter,
The Associates,
Röyhkä ja Rättö ja Lehtisalo,
Deadbeat,
Ken Boothe,
The American Breed,
Accadde A,
New Age Steppers,
The Barracudas,
Michelle Simonal,
JFA,
Tom Boy,
The Victims,
Tres Demented,
John Foxx,
Barclay James Harvest,
Brass Construction,
New York Dolls,
Q and Not U,
ABBA,
Manfred Mann's Earth Band,
Pantaleimon,
Eli Mardock,
Scion,
Jacques Brel,
Clear Light, Clear Light, Clear Light, Clear Light.
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.