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 Accra.
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 1976.
I'm losing my edge.
To all the kids in Mexico City and Accra.
I'm losing my edge to the art-school Lagos 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the oboe 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 Oppenheimer Analysis to the dance 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 Yazoo. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every Donny Hathaway 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 '50s cut and another box set from the '80s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Suburban Knight record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Unwound,
Camouflage,
Be Bop Deluxe,
H. Thieme,
Reuben Wilson,
Index,
Gastr Del Sol,
Inner City,
Derrick Morgan,
FM Einheit,
Masters at Work,
Röyhkä ja Rättö ja Lehtisalo,
Radiohead,
The Wake,
K-Klass,
Girls At Our Best!,
Peter & Gordon,
Skriet,
Robert Görl,
Parry Music,
Thee Headcoats,
Bronski Beat,
The Associates,
X-101,
The Count Five,
Circle Jerks,
Pulsallama,
Tommy Roe,
Lou Reed & Metallica,
Qualms,
Black Bananas,
The Tremeloes,
Hoover,
Fatback Band,
Echospace,
Absolute Body Control,
Banda Bassotti,
The Motions,
Kaleidoscope,
Arab on Radar,
Slave,
Teenage Jesus and the Jerks,
Fela Kuti,
Joe Smooth,
Avey Tare,
Jacques Brel,
Lee Hazlewood,
Colin Newman,
Joe Finger,
Visage,
D'Angelo,
The Gladiators,
Rufus Thomas,
the Normal,
Cameo,
Funkadelic,
R.M.O.,
the Soft Cell,
Ken Boothe,
Shuggie Otis,
The Cowsills,
John Cale, John Cale, John Cale, John Cale.
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.