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 Somalia and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1975.
I'm losing my edge.
To all the kids in Manila and Woodstock.
I'm losing my edge to the art-school Tokyo 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 guitar sounds with much patience.
I was there when Michael McDonald 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 Bad Manners to the grime kids.
I played it at the Troubador.
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 Television Personalities. All the underground hits.
All Lungfish tracks. I heard you have a vinyl of every Sällskapet record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Gang Gang Dance,
Bang on a Can All-Stars,
Soft Cell,
Jesper Dahlbäck,
Barclay James Harvest,
Glambeats Corp.,
Kurtis Blow,
Scion,
Lonnie Liston Smith,
Amon Düül,
Dorothy Ashby,
The Real Kids,
Groovy Waters,
Inner City,
Lucky Dragons,
Spoonie Gee,
The Dirtbombs,
Slick Rick,
New Order,
Pylon,
Sugar Minott,
Crash Course in Science,
Pantytec,
Lower 48,
Rekid,
Newcleus,
Black Flag,
the Bar-Kays,
The Offenders,
Swell Maps,
Bob Dylan,
Be Bop Deluxe,
Crooked Eye,
Crispian St. Peters,
Lou Reed & John Cale,
Tim Buckley,
The Neon Judgement,
The J.B.'s,
Grandmaster Flash and the Furious Five,
Porter Ricks,
Babytalk,
Gong,
Roy Ayers,
Ultimate Spinach,
The Dave Clark Five,
Pierre Henry,
Ten City,
Sound Behaviour,
Duran Duran,
Desert Stars,
Mad Mike,
Pussy Galore,
Brothers Johnson,
Kool Moe Dee,
Agitation Free,
Avey Tare,
Second Layer,
Crime,
Oneida,
Cal Tjader,
Model 500,
X-102, X-102, X-102, X-102.
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.