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 Kyrgyzstan and from Edmonton.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1972.
I'm losing my edge.
To all the kids in Winnipeg and Hong Kong.
I'm losing my edge to the art-school Woodstock 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 rhodes sounds with much patience.
I was there when Nile Rodgers 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 Richard Hell and the Voidoids to the rock kids.
I played it at Cafe Wha.
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 Al Stewart. All the underground hits.
All Suicide tracks. I heard you have a vinyl of every Mr. Review 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 '80s cut and another box set from the '80s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Schoolly D record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Severed Heads,
Scan 7,
Rhythm & Sound,
Junior Murvin,
Neu!,
Black Moon,
Gichy Dan,
PIL,
Y Pants,
Popol Vuh,
Electric Light Orchestra,
Al Stewart,
Newcleus,
Wally Richardson,
Chrome,
Idris Muhammad,
Mark Hollis,
Selector Dub Narcotic,
Faraquet,
The Victims,
The Cowsills,
Danielle Patucci,
Talk Talk,
Second Layer,
Dual Sessions,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Teenage Jesus and the Jerks,
Andrew Hill,
Rosa Yemen,
Slave,
The Stooges,
Kerrie Biddell,
The Monks,
Bizarre Inc.,
Aaron Thompson,
Derrick May,
Gil Scott-Heron & Brian Jackson,
cv313,
The Dead C,
The Last Poets,
David McCallum,
Super Lover Cee & Casanova Rud,
Charles Mingus,
Simply Red,
Country Teasers,
Sex Pistols,
Siglo XX,
Sparks,
Vaughan Mason & Crew,
The Buckinghams,
Half Japanese,
Eurythmics,
Isaac Hayes,
DJ Sneak,
Eric B and Rakim,
Silicon Teens,
Eric Dolphy,
Icehouse,
Derrick Morgan,
Pylon,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.