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 Kiribati 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 1960 to 1975.
I'm losing my edge.
To all the kids in Mumbai and Mexico City.
I'm losing my edge to the art-school Woodstock 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 snare sounds with much patience.
I was there when Nile Rodgers 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 Lee Hazlewood to the rock kids.
I played it at the Roxy.
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 The Dirtbombs. All the underground hits.
All cv313 tracks. I heard you have a vinyl of every Rites of Spring 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
The Tremeloes,
Oppenheimer Analysis,
Kango’s Stein Massive,
Echo & the Bunnymen,
Skaos,
The Walker Brothers,
Organ,
Harmonia,
Minor Threat,
Sly & The Family Stone,
Wolf Eyes,
Carl Craig,
Urselle,
Newcleus,
Lou Christie,
Quando Quango,
The Buckinghams,
Eddi Front,
Sam Rivers,
Sunsets and Hearts,
Procol Harum,
Cecil Taylor,
Animal Collective,
Porter Ricks,
Gian Franco Pienzio,
Girls At Our Best!,
Joe Finger,
Popol Vuh,
Joey Negro,
Second Layer,
Visage,
Hoover,
Hashim,
The Fugs,
Bobbi Humphrey,
Technova,
Man Eating Sloth,
Buzzcocks,
Kauko Röyhkä ja Narttu,
Pole,
EPMD,
KRS-One,
Röyhkä ja Rättö ja Lehtisalo,
Black Sheep,
The Alarm Clocks,
The Shadows of Knight,
Lou Reed,
The American Breed,
Howard Jones,
Johnny Clarke,
Henry Cow,
The Gun Club,
The Golliwogs,
The Evens,
Teenage Jesus and the Jerks,
The Cosmic Jokers,
Ash Ra Tempel,
Pulsallama,
Scott Walker,
Moebius,
Glenn Branca,
Circle Jerks, Circle Jerks, Circle Jerks, Circle Jerks.
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.