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 Denmark 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 1960 to 1973.
I'm losing my edge.
To all the kids in Manila and Philadelphia.
I'm losing my edge to the art-school Glasgow 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 1978 at the first Visage practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Holger Czukay 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 Royal Trux to the jazz kids.
I played it at Cafe Wha.
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 Intrusion. All the underground hits.
All The Fuzztones tracks. I heard you have a vinyl of every Swans record on German import.
I heard that you have a white label of every seminal funk 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 linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Index record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Toasters,
The United States of America,
The Fuzztones,
Sunsets and Hearts,
Roxy Music,
Siglo XX,
The Neon Judgement,
Tim Buckley,
Altered Images,
Jeff Lynne,
Boredoms,
Soft Machine,
Bronski Beat,
Janne Schatter,
Lyres,
Fela Kuti,
Visage,
Hashim,
Swans,
Selector Dub Narcotic,
Reuben Wilson,
Sonic Youth,
Echo & the Bunnymen,
The Move,
The Invisible,
Cymande,
Fifty Foot Hose,
Peter and Kerry,
Roy Ayers Ubiquity,
Jesper Dahlbäck,
Niagra,
DNA,
Heavy D & The Boyz,
Circle Jerks,
Radiohead,
Angry Samoans,
Electric Light Orchestra,
The Fortunes,
Agitation Free,
Grandmaster Flash,
Howard Jones,
Terror Squad Feat. Camron,
Gabor Szabo,
The Slits,
Glenn Branca,
Joy Division,
Slave,
Man Parrish,
Marvin Gaye,
Larry & the Blue Notes,
Sound Behaviour,
Dark Day,
Gil Scott-Heron & Brian Jackson,
The Victims,
Suburban Knight,
Shoche,
Half Japanese,
Barry Ungar,
Aswad,
Sister Nancy, Sister Nancy, Sister Nancy, Sister Nancy.
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.