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 Sweden and from Copenhagen.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Bologna and Jakarta.
I'm losing my edge to the art-school Shanghai 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart 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 The Doobie Brothers to the rock 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 Massinfluence. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every Crime record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantaleimon,
Nirvana,
Sister Nancy,
Babytalk,
Aswad,
The Divine Comedy,
The Monochrome Set,
The Neon Judgement,
The Trojans,
KRS-One,
Outsiders,
Tim Buckley,
Schoolly D,
T. Rex,
Faraquet,
June Days,
FM Einheit,
the Human League,
Technova,
Eric Dolphy,
Can,
Grandmaster Flash and the Furious Five,
Buzzcocks,
Y Pants,
The Gap Band,
Audionom,
Gastr Del Sol,
Lindisfarne,
John Lydon,
Avey Tare,
Ornette Coleman,
Camouflage,
the Association,
Curtis Mayfield,
Gang of Four,
10cc,
Black Sheep,
Livin' Joy,
Cybotron,
The Cure,
Siglo XX,
Wasted Youth,
Unrelated Segments,
Sam Rivers,
The Wake,
The Selecter,
The Walker Brothers,
The Raincoats,
The Smiths,
X-102,
Jacques Brel,
Das Ding,
Frankie Knuckles,
Traffic Nightmare,
Essential Logic,
Scrapy,
These Immortal Souls,
Alice Coltrane,
Mo-Dettes,
K-Klass,
The Invisible, The Invisible, The Invisible, The Invisible.
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.