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 New Zealand and from Milan.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Milan and Mexico City.
I'm losing my edge to the art-school Philadelphia 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the synthesizer 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 Can to the grime 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 Louis and Bebe Barron. All the underground hits.
All Duran Duran tracks. I heard you have a vinyl of every Judy Mowatt record on German import.
I heard that you have a white label of every seminal rap 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 snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Mummies record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Toni Rubio,
Public Enemy,
Grauzone,
Pete Rock & C.L. Smooth,
CMW,
Whodini,
The Victims,
Model 500,
The Cowsills,
The Zeros,
Oblivians,
The Men They Couldn't Hang,
Ludus,
Sam Rivers,
Eyeless In Gaza,
Alphaville,
Harmonia,
Wings,
The New Christs,
Outsiders,
Peter Gordon & Love of Life Orchestra,
Hoover,
Pole,
Josef K,
Bill Near,
Wolf Eyes,
Throbbing Gristle,
Amon Düül,
Oppenheimer Analysis,
Absolute Body Control,
Symarip,
Sonic Youth,
the Germs,
Siglo XX,
Radiopuhelimet,
Negative Approach,
Terror Squad Feat. Camron,
Bobby Byrd,
The Real Kids,
Chrome,
Nik Kershaw,
Lee Hazlewood,
Neu!,
Faraquet,
Sixth Finger,
The Star Department,
DeepChord presents Echospace,
Avey Tare,
Harry Pussy,
Porter Ricks,
Sexual Harrassment,
Nation of Ulysses,
La Düsseldorf,
The Divine Comedy,
Alton Ellis,
Warsaw,
The Leaves, The Leaves, The Leaves, The Leaves.
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.