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 Angola and from Salvador.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1965 to 1977.
I'm losing my edge.
To all the kids in Delhi and Lagos.
I'm losing my edge to the art-school Jakarta 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 theremin sounds with much patience.
I was there when Tom Verlaine 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 Traffic Nightmare to the rap 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 Radiopuhelimet. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every Theoretical Girls record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Mars record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
The Associates,
Delon & Dalcan,
Barclay James Harvest,
Fat Boys,
Iggy Pop,
This Heat,
The Gap Band,
Howard Jones,
Make Up,
Moss Icon,
The Count Five,
The Saints,
Q and Not U,
Angels of Light & Akron/Family,
Talk Talk,
Soft Cell,
Theoretical Girls,
Rosa Yemen,
Soft Machine,
Röyhkä ja Rättö ja Lehtisalo,
Radiopuhelimet,
Tres Demented,
Roy Ayers,
June of 44,
a-ha,
Notorious Big And Bone Thugs,
Lou Reed & Metallica,
Siouxsie and the Banshees,
LL Cool J,
Freddie Wadling,
Masters at Work,
The Slackers,
Todd Rundgren,
Jesper Dahlback,
Sound Behaviour,
The Knickerbockers,
The West Coast Pop Art Experimental Band,
Lungfish,
Fort Wilson Riot,
The Royal Family And The Poor,
Half Japanese,
Brand Nubian,
Metal Thangz,
the Germs,
the Association,
Kevin Saunderson,
The Blues Magoos,
James White and The Blacks,
Yazoo,
Brick,
Alice Coltrane,
The Standells,
Royal Trux,
Bluetip,
Depeche Mode,
Newcleus,
Matthew Bourne,
The Seeds,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.