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 San Marino and from Accra.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Portland and Lagos.
I'm losing my edge to the art-school Houston 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 theremin 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 Black Sheep to the electroclash kids.
I played it at CBGB's.
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 Fad Gadget. All the underground hits.
All Soul II Soul tracks. I heard you have a vinyl of every Radiohead record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Gang Green,
F. McDonald,
Be Bop Deluxe,
The Techniques,
Godley & Creme,
Arab on Radar,
Dual Sessions,
Kauko Röyhkä ja Narttu,
Tommy Roe,
Neu!,
Rites of Spring,
Sound Behaviour,
Section 25,
Scion,
Kayak,
John Coltrane,
The Divine Comedy,
The Human League,
Sunsets and Hearts,
Ronan,
The Blues Magoos,
Lou Reed,
The New Christs,
Q and Not U,
Manfred Mann's Earth Band,
Davy DMX,
Patti Smith,
The Monochrome Set,
Sparks,
Banda Bassotti,
Rhythim Is Rhythim,
Average White Band,
Echospace,
Barclay James Harvest,
Unwound,
MC5,
Marmalade,
John Foxx,
Make Up,
Talk Talk,
Howard Jones,
Stereo Dub,
Joensuu 1685,
Arcadia,
Cameo,
Mary Jane Girls,
the Slits,
The Durutti Column,
Sad Lovers and Giants,
Cal Tjader,
The Buckinghams,
Larry & the Blue Notes,
Gabor Szabo,
Rhythm & Sound,
The Last Poets,
Moby Grape,
Bauhaus,
The Alarm Clocks,
Parry Music,
Wally Richardson,
Sexual Harrassment,
Gang Starr,
New Age Steppers,
Sight & Sound, Sight & Sound, Sight & Sound, Sight & Sound.
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.