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 Delhi.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Taipei.
I'm losing my edge to the art-school Edmonton 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the clarinet 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 Anthony Braxton 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 Interpol. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every The Fortunes record on German import.
I heard that you have a white label of every seminal dance 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 chamberlin 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 theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
The Fortunes,
Q and Not U,
Infiniti,
Monolake,
Siglo XX,
Spoonie Gee,
Pole,
Tears for Fears,
Kevin Saunderson,
the Germs,
the Swans,
Swell Maps,
The Gories,
Pharaoh Sanders and the Fire Engines,
Be Bop Deluxe,
Anthony Braxton,
Fugazi,
Barry Ungar,
Franke,
Hot Snakes,
Groovy Waters,
Technova,
Lalann,
The Sound,
Blancmange,
Avey Tare,
Vladislav Delay,
Alice Coltrane,
Grey Daturas,
Joe Smooth,
The Misunderstood,
JFA,
Ronan,
Von Mondo,
PIL,
Lonnie Liston Smith,
DeepChord presents Echospace,
Deakin,
Sunsets and Hearts,
The Jesus and Mary Chain,
Sixth Finger,
The Smiths,
Faust,
Negative Approach,
Theoretical Girls,
Bobby Womack,
Q65,
Lou Christie,
Silicon Teens,
Curtis Mayfield,
June of 44,
Magazine,
The Pop Group,
Neu!,
Scrapy,
Section 25,
Harmonia,
Urselle,
Nick Cave & The Bad Seeds,
Faraquet,
Gerry Rafferty,
Rowland S Howard / Lydia Lunch,
The Standells, The Standells, The Standells, The Standells.
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.