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 Nigeria and from Bologna.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Mumbai and Manila.
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 mellotron sounds with much patience.
I was there when David Bowie 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 The United States of America to the rock kids.
I played it at the Astoria.
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 Darondo. All the underground hits.
All Gary Puckett & The Union Gap tracks. I heard you have a vinyl of every Ten City record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Fort Wilson Riot,
Sonic Youth,
Glambeats Corp.,
Pharoah Sanders,
Scion,
Loose Ends,
The Fugs,
Reuben Wilson,
Red Lorry Yellow Lorry,
Throbbing Gristle,
Second Layer,
Monolake,
Hoover,
Jawbox,
Boredoms,
Brass Construction,
Easy Going,
DJ Sneak,
Soft Machine,
The Residents,
Accadde A,
Peter Gordon & Love of Life Orchestra,
Icehouse,
Mars,
Aloha Tigers,
Sound Behaviour,
Neil Young,
Eddi Front,
Mantronix,
Warren Ellis,
Chrome,
R.M.O.,
Gerry Rafferty,
Black Moon,
Harmonia,
The Young Rascals,
Yusef Lateef,
Bronski Beat,
Ultramagnetic MC's,
FM Einheit,
Johnny Osbourne,
Bob Dylan,
Zapp,
The Dirtbombs,
The Sound,
Audionom,
The Wake,
Kenny Larkin,
Art Ensemble Of Chicago,
Main Source,
Eve St. Jones,
Scott Walker,
Gang Starr,
Letta Mbulu,
Judy Mowatt,
Flash Fearless,
Model 500,
Spandau Ballet,
Beasts of Bourbon,
Marcia Griffiths,
Stiv Bators, Stiv Bators, Stiv Bators, Stiv Bators.
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.