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 Gabon and from Milan.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Accra and Bremen.
I'm losing my edge to the art-school Manchester 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the marimba sounds with much patience.
I was there when Captain Beefheart 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 Camberwell Now to the techno 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 Steve Hackett. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every Warsaw record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Lynne,
Todd Rundgren,
Wolf Eyes,
Avey Tare,
The Doobie Brothers,
The Barracudas,
Gabor Szabo,
Ken Boothe,
Eden Ahbez,
Babytalk,
Notorious Big And Bone Thugs,
CMW,
Sarah Menescal,
Absolute Body Control,
John Holt,
Buzzcocks,
Make Up,
Pierre Henry,
Visionaries,LMNO, T- Love & Iriscience,
Ultravox,
Pole,
Alphaville,
The Tremeloes,
Röyhkä ja Rättö ja Lehtisalo,
Nico,
Jandek,
Sight & Sound,
The Moody Blues,
Reagan Youth,
Bad Manners,
Janne Schatter,
Underground Resistance,
Con Funk Shun,
Warren Ellis,
Neil Young,
Ultramagnetic MC's,
Nas,
Liliput,
Sandy B,
Procol Harum,
Thee Headcoats,
the Swans,
Marcia Griffiths,
The Real Kids,
Brass Construction,
The Cowsills,
Neil Young & Crazy Horse,
The Mighty Diamonds,
Infiniti,
Cheater Slicks,
Massinfluence,
Y Pants,
Icehouse,
Hashim,
Tim Buckley,
Blancmange,
Panda Bear,
Pere Ubu,
Slick Rick,
Gang Gang Dance,
Toni Rubio,
Urselle, Urselle, Urselle, Urselle.
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.