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 Monaco and from New York.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Bologna.
I'm losing my edge to the art-school London 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the linndrum sounds with much patience.
I was there when Holger Czukay 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 Rapeman 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 Terry Callier. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Ornette Coleman record on German import.
I heard that you have a white label of every seminal electroclash 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 synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your güiro and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
Gregory Isaacs,
The Durutti Column,
DeepChord presents Echospace,
Pagans,
Oblivians,
Sex Pistols,
Talk Talk,
the Soft Cell,
The Sound,
Throbbing Gristle,
Soft Cell,
The Fire Engines,
The Seeds,
Wire,
Camouflage,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Godley & Creme,
Groovy Waters,
Scrapy,
Kenny Larkin,
Mantronix,
Girls At Our Best!,
Echo & the Bunnymen,
John Holt,
Khruangbin,
H. Thieme,
The Young Rascals,
Teenage Jesus and the Jerks,
Stereo Dub,
Jacques Brel,
Nas,
Notorious Big And Bone Thugs,
Funkadelic,
Nils Olav,
Los Fastidios,
Davy DMX,
Lower 48,
Sound Behaviour,
Angels of Light & Akron/Family,
David Axelrod,
Super Lover Cee & Casanova Rud,
Wighnomy Brothers & Robag Wruhme,
Jeff Lynne,
The Knickerbockers,
June Days,
Crispy Ambulance,
Flash Fearless,
Brand Nubian,
The Index,
New York Dolls,
Malaria!,
Sällskapet,
Ludus,
Tubeway Army,
Suicide,
Section 25,
the Swans,
KRS-One,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.