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 Manchester.
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 1971.
I'm losing my edge.
To all the kids in Jakarta and Madrid.
I'm losing my edge to the art-school Lagos 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the organ 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 Ultravox to the grime 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 Sam Rivers. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Brass Construction record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Harmonia record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Livin' Joy,
Richard Hell and the Voidoids,
CMW,
The Residents,
Connie Case,
Harpers Bizarre,
Joy Division,
Bluetip,
Crash Course in Science,
The Vogues,
Tropical Tobacco,
Cymande,
Deepchord,
Urselle,
Goldenarms,
Bad Manners,
Fat Boys,
Severed Heads,
The Move,
Hardrive,
These Immortal Souls,
World's Most,
Nik Kershaw,
The Fall,
Kenny Larkin,
Pantaleimon,
Howard Jones,
Gil Scott-Heron & Brian Jackson,
The Detroit Cobras,
the Bar-Kays,
Magazine,
Colin Newman,
The Beau Brummels,
Lower 48,
Das Ding,
Radiohead,
Avey Tare & Kría Brekkan,
Grandmaster Flash,
Sun Ra,
The Monks,
Ultimate Spinach,
The Music Machine,
Kool Moe Dee,
The Fugs,
Slick Rick,
The Smiths,
Los Fastidios,
Rhythm & Sound,
Lebanon Hanover,
Siouxsie and the Banshees,
Glambeats Corp.,
Main Source,
Sällskapet,
Jerry's Kids,
The Star Department,
Avey Tare,
Pole,
Angels of Light & Akron/Family,
Prince Buster,
DJ Sneak,
Japan,
Public Image Ltd.,
Soul Sonic Force, Soul Sonic Force, Soul Sonic Force, Soul Sonic Force.
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.