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 Dominica and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1964 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Taipei.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb 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 Scion to the grunge kids.
I played it at the Crocodile.
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 Young Marble Giants. All the underground hits.
All Cheater Slicks tracks. I heard you have a vinyl of every Roger Hodgson record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a D'Angelo record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Prunes,
Outsiders,
Gong,
Pylon,
June Days,
Aaron Thompson,
Robert Görl,
DeepChord presents Echospace,
Blancmange,
Sam Rivers,
Eli Mardock,
John Foxx,
Grandmaster Flash,
London Community Gospel Choir,
Flamin' Groovies,
Glambeats Corp.,
Roy Ayers Ubiquity,
Country Teasers,
Drive Like Jehu,
The Mighty Diamonds,
Tim Buckley,
MC5,
The Pretty Things,
Orchestral Manoeuvres in the Dark,
Pet Shop Boys,
the Slits,
The Monochrome Set,
Jesper Dahlback,
Bobbi Humphrey,
These Immortal Souls,
Rakim,
Avey Tare's Slasher Flicks,
Captain Beefheart & His Magic Band,
the Fania All-Stars,
Oppenheimer Analysis,
The Neon Judgement,
Sound Behaviour,
the Soft Cell,
Radio Birdman,
Public Image Ltd.,
Ohio Players,
Popol Vuh,
Kool G Rap & DJ Polo,
X-102,
Maleditus Sound,
Animal Collective,
Suburban Knight,
Maurizio,
Mad Mike,
The Moody Blues,
Strawberry Alarm Clock,
Throbbing Gristle,
Oneida,
Freddie Wadling,
New York Dolls,
The J.B.'s,
Minutemen,
The Slackers,
Easy Going,
the Germs, the Germs, the Germs, the Germs.
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.