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 Zambia and from Bremen.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1978.
I'm losing my edge.
To all the kids in Halifax and London.
I'm losing my edge to the art-school Bremen 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 Dawn Penn to the rock kids.
I played it at the Astoria.
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 The Gladiators. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every Kings Of Tomorrow record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young & Crazy Horse,
Supertramp,
The Tremeloes,
A Flock of Seagulls,
Howard Jones,
The Toasters,
Adolescents,
Black Sheep,
Tom Boy,
Loose Ends,
Avey Tare's Slasher Flicks,
The Sound,
Neu!,
Duran Duran,
Heavy D & The Boyz,
Barbara Tucker,
Idris Muhammad,
Gang Green,
Junior Murvin,
Deepchord,
Susan Cadogan,
Boz Scaggs,
The Doors,
Gian Franco Pienzio,
Anthony Braxton,
Joe Smooth,
Delta 5,
Porter Ricks,
Ultra Naté,
Patti Smith,
The Divine Comedy,
kango's stein massive,
Camron Feat. Memphis Bleek And Beenie Seigel,
DJ Sneak,
the Germs,
The Fall,
Banda Bassotti,
Sonic Youth,
Peter Gordon & Love of Life Orchestra,
The Monochrome Set,
Sugar Minott,
The Associates,
K-Klass,
Nico,
Sun Ra,
Pierre Henry,
a-ha,
Neil Young,
Godley & Creme,
The Knickerbockers,
Bronski Beat,
Crash Course in Science,
Pole,
Eric B and Rakim,
Johnny Clarke,
Lalann,
the Slits,
Surgeon,
Country Teasers,
John Holt,
The Fire Engines,
Yazoo,
Dorothy Ashby,
Hashim, Hashim, Hashim, Hashim.
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.