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 Iceland and from Milan.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Houston and Jakarta.
I'm losing my edge to the art-school Bologna 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 arpeggiator 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 Bob Dylan to the techno kids.
I played it at the Spitz.
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 Echo & the Bunnymen. All the underground hits.
All Bobby Hutcherson tracks. I heard you have a vinyl of every Cameo 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 '80s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your guitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Marc Almond,
Dr. Dre and Snoop Doggy Dog,
Marmalade,
Bronski Beat,
Swell Maps,
Chris Corsano,
Pussy Galore,
Nico,
Pere Ubu,
Livin' Joy,
Delon & Dalcan,
Stockholm Monsters,
Jeru the Damaja,
The Sisters of Mercy,
Art Ensemble Of Chicago,
T. Rex,
Scott Walker + Sunn O))),
Wasted Youth,
Stiv Bators,
Interpol,
Ultimate Spinach,
Outsiders,
The Zeros,
Excepter,
Amon Düül II,
Super Lover Cee & Casanova Rud,
Eric Copeland,
David McCallum,
Skaos,
Dual Sessions,
The Cowsills,
Albert Ayler,
Banda Bassotti,
Nick Fraelich,
Gil Scott-Heron & Brian Jackson,
Sex Pistols,
Peter & Gordon,
Marvin Gaye,
Alison Limerick,
The Electric Prunes,
The West Coast Pop Art Experimental Band,
Main Source,
The Dirtbombs,
Black Moon,
Skriet,
The Gories,
Absolute Body Control,
Loose Ends,
Glenn Branca,
The Buckinghams,
Thee Headcoats,
The Shadows of Knight,
Ituana,
The Grass Roots,
kango's stein massive,
Jacques Brel,
Basic Channel,
Jeff Lynne,
X-Ray Spex,
Avey Tare's Slasher Flicks,
Brass Construction,
The Skatalites,
The Toasters,
John Cale, John Cale, John Cale, John Cale.
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.