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 Oman and from Beijing.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1978.
I'm losing my edge.
To all the kids in Mexico City and Lagos.
I'm losing my edge to the art-school Madrid 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 mellotron sounds with much patience.
I was there when Holger Czukay 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 Lou Christie to the punk 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 Bill Near. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every Arcadia 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
D'Angelo,
Magma,
Gabor Szabo,
Flipper,
Notorious BIG live in Amsterdam,
Ultramagnetic MC's,
The Techniques,
Moby Grape,
Scrapy,
R.M.O.,
The Dead C,
Q and Not U,
JFA,
Blancmange,
Fluxion,
Gary Puckett & The Union Gap,
Kauko Röyhkä ja Narttu,
Grey Daturas,
The Modern Lovers,
Unrelated Segments,
Josef K,
Angels of Light & Akron/Family,
Gang Gang Dance,
Big Daddy Kane,
Niagra,
K-Klass,
U.S. Maple,
L. Decosne,
The Skatalites,
Mars,
Letta Mbulu,
Idris Muhammad,
The Gun Club,
The Associates,
the Germs,
Lou Reed & Metallica,
Infiniti,
Liliput,
The Blues Magoos,
Rowland S Howard / Lydia Lunch,
Harmonia,
kango's stein massive,
Fatback Band,
Stetsasonic,
Wolf Eyes,
Pet Shop Boys,
Eve St. Jones,
Fela Kuti,
Peter & Gordon,
Sixth Finger,
The Slackers,
Ajijia Myrayebe,
Scientists,
The Birthday Party,
Guru Guru,
Black Sheep,
Angry Samoans,
Vaughan Mason & Crew,
Wally Richardson,
Stockholm Monsters,
Banda Bassotti,
Shoche,
Can, Can, Can, Can.
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.