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 Ukraine and from Toronto.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Mumbai and Milan.
I'm losing my edge to the art-school Tokyo 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 Robert Palmer 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 Agitation Free to the disco kids.
I played it at the Hacienda.
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 Desert Stars. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Radiohead record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Godley & Creme record.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Minnie Riperton,
The Walker Brothers,
The Flesh Eaters,
The Buckinghams,
Technova,
Inner City,
Trumans Water,
Saccharine Trust,
Lou Reed & Metallica,
The Black Dice,
Thee Headcoats,
MC5,
Rowland S Howard / Lydia Lunch,
The Mojo Men,
Index,
Erasure,
Scrapy,
Gil Scott-Heron and Jamie xx,
Heaven 17,
Avey Tare's Slasher Flicks,
Negative Approach,
Q65,
Franke,
Dorothy Ashby,
The Offenders,
Althea and Donna,
Avey Tare & Kría Brekkan,
The Fuzztones,
Josef K,
Mr. Review,
The J.B.'s,
This Heat,
Basic Channel,
X-101,
The Gun Club,
Bootsy Collins,
Country Teasers,
Juan Atkins,
Art Ensemble Of Chicago,
The Jesus and Mary Chain,
The Fire Engines,
Andrew Ashong & Theo Parrish,
Swans,
Mantronix,
Bobby Hutcherson,
The Last Poets,
The Golliwogs,
Todd Terry,
Crime,
New York Dolls,
Leonard Cohen,
Dual Sessions,
Sugar Minott,
Slick Rick,
Robert Görl,
Lakeside,
London Community Gospel Choir,
Flipper,
Jesper Dahlbäck,
Cal Tjader,
Ultra Naté, Ultra Naté, Ultra Naté, Ultra Naté.
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.