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 Ireland and from Paris.
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 1971.
I'm losing my edge.
To all the kids in Tehran and Spokane.
I'm losing my edge to the art-school Stockholm 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the spring reverb 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 Camouflage to the jazz kids.
I played it at the 40 Watt.
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 The Selecter. All the underground hits.
All Average White Band tracks. I heard you have a vinyl of every It's A Beautiful Day 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 '90s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a John Cale record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Das Ding,
Dead Boys,
Matthew Bourne,
Chrome,
Loose Ends,
Tomorrow,
Black Bananas,
Icehouse,
Louis and Bebe Barron,
Rites of Spring,
Barrington Levy,
Vladislav Delay,
Interpol,
The Evens,
Minnie Riperton,
kango's stein massive,
Joensuu 1685,
Rapeman,
Sound Behaviour,
the Human League,
Matthew Halsall,
Goldenarms,
Gian Franco Pienzio,
De La Soul & Jungle Brothers,
Kerrie Biddell,
Röyhkä ja Rättö ja Lehtisalo,
Jacob Miller,
Henry Cow,
Heaven 17,
Radio Birdman,
Quando Quango,
Unwound,
Gichy Dan,
The Vogues,
Glenn Branca,
Absolute Body Control,
Sun Ra Arkestra,
Bobby Sherman,
Erasure,
The Golliwogs,
DeepChord presents Echospace,
Desert Stars,
Tommy Roe,
Adolescents,
New York Dolls,
The Sisters of Mercy,
cv313,
Judy Mowatt,
Young Marble Giants,
Hardrive,
Deakin,
The Skatalites,
Lungfish,
Idris Muhammad,
Livin' Joy,
Lafayette Afro Rock Band,
The Blues Magoos,
Todd Rundgren,
Magazine,
Kevin Saunderson,
The American Breed,
Dark Day, Dark Day, Dark Day, Dark Day.
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.