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 Turkey and from Shanghai.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1966 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and Toronto.
I'm losing my edge to the art-school London 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 Vladislav Delay to the punk 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 Amon Düül. All the underground hits.
All Scion tracks. I heard you have a vinyl of every Minor Threat record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
Warren Ellis,
The Litter,
Smog,
London Community Gospel Choir,
Patti Smith,
The Searchers,
Pagans,
John Coltrane,
Scientists,
Morten Harket,
Sandy B,
The Invisible,
Unrelated Segments,
Camron Feat. Jay Z And Juelz,
Moby Grape,
Depeche Mode,
The Mighty Diamonds,
China Crisis,
Nation of Ulysses,
Alison Limerick,
Schoolly D,
The Cramps,
Al Stewart,
Y Pants,
The Saints,
Echospace,
Reagan Youth,
Bobby Sherman,
Lou Reed & John Cale,
Todd Rundgren,
Sällskapet,
Gian Franco Pienzio,
Fat Boys,
the Human League,
Fort Wilson Riot,
Quando Quango,
Young Marble Giants,
Pylon,
Bang On A Can,
Michelle Simonal,
Crime,
Jacob Miller,
Average White Band,
Donny Hathaway,
Quadrant,
Sound Behaviour,
Cymande,
the Soft Cell,
Lucky Dragons,
Barclay James Harvest,
Robert Görl,
OOIOO,
Tres Demented,
Wasted Youth,
Thompson Twins,
Lonnie Liston Smith,
Television Personalities,
Dorothy Ashby,
The Monks,
The Music Machine,
R.M.O.,
Mo-Dettes,
The Fire Engines, The Fire Engines, The Fire Engines, The Fire Engines.
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.