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 Mexico and from Spokane.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Portland and Delhi.
I'm losing my edge to the art-school Toronto 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Underground Resistance to the jazz 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 Oppenheimer Analysis. All the underground hits.
All Byron Stingily tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABC,
Organ,
The Dead C,
Larry & the Blue Notes,
Nico,
Dual Sessions,
Peter Gordon & Love of Life Orchestra,
Marc Almond,
Peter & Gordon,
Jesper Dahlback,
Monolake,
Mark Hollis,
The Monks,
Sexual Harrassment,
Newcleus,
The Remains,
The Count Five,
The Chocolate Watch Band,
Rufus Thomas,
Lyres,
The Velvet Underground,
the Human League,
Cameo,
The Names,
The Mummies,
Fugazi,
The Jesus and Mary Chain,
Black Bananas,
The Young Rascals,
Carl Craig,
Jeru the Damaja,
Roger Hodgson,
Arcadia,
Alison Limerick,
Das Ding,
The Alarm Clocks,
MC5,
T. Rex,
Youth Brigade,
Alice Coltrane,
Radiopuhelimet,
Joensuu 1685,
The Doobie Brothers,
Hasil Adkins,
Suburban Knight,
Bootsy's Rubber Band,
Los Fastidios,
The Barracudas,
Young Marble Giants,
R.M.O.,
Dawn Penn,
Ituana,
E-Dancer,
X-Ray Spex,
The Blues Magoos,
Kenny Larkin,
Circle Jerks,
Sight & Sound,
Lee Hazlewood,
Alton Ellis,
Super Lover Cee & Casanova Rud,
Hoover,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.