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 Iran and from New York.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Accra and Accra.
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 guitar 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 Sun City Girls to the grime kids.
I played it at the 40 Watt.
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 Second Layer. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks record on German import.
I heard that you have a white label of every seminal jazz 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 linndrum and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Adolescents,
The Count Five,
Brick,
Sex Pistols,
Skriet,
New Age Steppers,
Aural Exciters,
The Human League,
Ralphi Rosario,
Anthony Braxton,
Grey Daturas,
Ludus,
Cybotron,
Maurizio,
Sällskapet,
Matthew Bourne,
Little Man,
Nik Kershaw,
Wally Richardson,
Gary Puckett & The Union Gap,
Pulsallama,
The Cosmic Jokers,
Pole,
Country Teasers,
The Walker Brothers,
Crash Course in Science,
The Mighty Diamonds,
Kerrie Biddell,
Yellowson,
Dr. Dre and Snoop Doggy Dog,
The Velvet Underground,
David McCallum,
Panda Bear,
Ossler,
Andrew Hill,
Freddie Wadling,
Beasts of Bourbon,
Richard Hell and the Voidoids,
The Wake,
Bizarre Inc.,
Black Pus,
Theoretical Girls,
Scratch Acid,
The Black Dice,
The Toasters,
Clear Light,
Organ,
Warsaw,
Bronski Beat,
Aaron Thompson,
K-Klass,
Curtis Mayfield,
Alison Limerick,
Eddi Front,
Spoonie Gee,
Fluxion,
Don Cherry,
Jerry's Kids,
Electric Light Orchestra,
Newcleus,
Reagan Youth,
Royal Trux,
Wings, Wings, Wings, Wings.
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.