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 Bhutan and from Taipei.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1971.
I'm losing my edge.
To all the kids in Halifax and Hong Kong.
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 Tom Verlaine 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 Groovy Waters to the funk kids.
I played it at the Hacienda.
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 Rotary Connection. All the underground hits.
All Stiv Bators tracks. I heard you have a vinyl of every Pantaleimon 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 chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pretty Things,
Brick,
Bizarre Inc.,
Pussy Galore,
Half Japanese,
Drive Like Jehu,
Kool G Rap & DJ Polo,
Lyres,
Vaughan Mason & Crew,
Suburban Knight,
Masters at Work,
Lizzy Mercier Descloux,
Marine Girls,
Ken Boothe,
Pharoah Sanders,
The Red Krayola,
Duran Duran,
Lebanon Hanover,
X-Ray Spex,
Grandmaster Flash and the Furious Five,
Barbara Tucker,
Bobby Byrd,
Robert Wyatt,
Sight & Sound,
Wally Richardson,
Darondo,
The Skatalites,
Graham Central Station,
It's A Beautiful Day,
10cc,
The American Breed,
Ronnie Foster,
The Sound,
Avey Tare's Slasher Flicks,
The Cure,
Circle Jerks,
Essential Logic,
The Cowsills,
Arab on Radar,
Sun Ra Arkestra,
Crime,
Red Lorry Yellow Lorry,
Echospace,
Liaisons Dangereuses,
Crash Course in Science,
Lalann,
Amazonics,
Stiv Bators,
Soul Sonic Force,
CMW,
Don Cherry,
This Heat,
Absolute Body Control,
The Mummies,
Nils Olav,
Minny Pops,
Bronski Beat,
Delon & Dalcan,
Prince Buster,
The Associates, The Associates, The Associates, The Associates.
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.