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 Swaziland and from Jakarta.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1970.
I'm losing my edge.
To all the kids in Woodstock and Bologna.
I'm losing my edge to the art-school Copenhagen 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 synthesizer sounds with much patience.
I was there when David Bowie 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 The Fugs to the electroclash kids.
I played it at the Hacienda.
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 Rod Modell. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every Fatback Band record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Young Rascals record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lucky Dragons,
Larry & the Blue Notes,
Funkadelic,
Todd Terry,
Derrick May,
The Detroit Cobras,
Wolf Eyes,
Derrick Morgan,
Terry Callier,
Scott Walker + Sunn O))),
Scion,
Barbara Tucker,
Nik Kershaw,
The Music Machine,
Strawberry Alarm Clock,
Malaria!,
The Moody Blues,
Rakim,
Siglo XX,
Wasted Youth,
The Monks,
La Düsseldorf,
Kenny Larkin,
Gian Franco Pienzio,
Aswad,
Siouxsie and the Banshees,
Sight & Sound,
a-ha,
Jesper Dahlback,
Pet Shop Boys,
The West Coast Pop Art Experimental Band,
Rahsaan Roland Kirk,
ABC,
Radio Birdman,
Skriet,
The Shadows of Knight,
Rowland S Howard / Lydia Lunch,
X-101,
Alison Limerick,
Vladislav Delay,
The Zeros,
The Slackers,
Scratch Acid,
Lou Reed & John Cale,
Sex Pistols,
Barry Ungar,
Black Flag,
DJ Style,
Audionom,
the Association,
Intrusion,
Youth Brigade,
Ornette Coleman,
Lalo Schifrin,
Erasure,
Toni Rubio,
Teenage Jesus and the Jerks,
Aloha Tigers,
Excepter,
Aaron Thompson,
A Certain Ratio,
Newcleus, Newcleus, Newcleus, Newcleus.
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.