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 Mozambique and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Lagos and Bologna.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin 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 Bronski Beat to the techno kids.
I played it at CBGB's.
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 Radio Birdman. All the underground hits.
All Nico tracks. I heard you have a vinyl of every Bob Dylan record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a This Heat record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
The Smoke,
Tom Boy,
Unrelated Segments,
Cabaret Voltaire,
Avey Tare,
Eric B and Rakim,
Joe Smooth,
Sight & Sound,
The Velvet Underground,
Quadrant,
Peter Gordon & Love of Life Orchestra,
Janne Schatter,
Yaz,
Scrapy,
Sunsets and Hearts,
Anthony Braxton,
Hot Snakes,
Fear,
Heavy D & The Boyz,
Robert Hood,
Theoretical Girls,
Underground Resistance,
Half Japanese,
The Cramps,
Marc Romboy vs. Booka Shade,
New Age Steppers,
Lakeside,
Gabor Szabo,
Clear Light,
Pussy Galore,
The Sonics,
Cluster,
The Dead C,
Crispian St. Peters,
the Slits,
Spandau Ballet,
John Coltrane,
Main Source,
Essential Logic,
KRS-One,
Thompson Twins,
The Remains,
The Divine Comedy,
The Gories,
Mo-Dettes,
Funky Four + One,
Gang Gang Dance,
48th St. Collective,
Minor Threat,
Black Sheep,
Bang On A Can,
Kaleidoscope,
The Monks,
Minny Pops,
T.S.O.L.,
Public Enemy,
The Walker Brothers,
Sister Nancy,
Gang Starr,
Warren Ellis,
Desert Stars,
Sun City Girls,
The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy.
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.