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 Comoros and from Philadelphia.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Milan.
I'm losing my edge to the art-school Copenhagen 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 1984 at the first Arcadia practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Tom Verlaine 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 Audionom to the rock kids.
I played it at the Crocodile.
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 Neil Young & Crazy Horse. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Porter Ricks 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 '60s cut and another box set from the '80s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kerrie Biddell record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Newcleus,
Electric Prunes,
Moebius,
Tubeway Army,
Terrestrial Tones,
Fluxion,
Justin Hinds & The Dominoes,
Gichy Dan,
The Leaves,
Kauko Röyhkä ja Narttu,
Kerrie Biddell,
Essential Logic,
The Peanut Butter Conspiracy,
Johnny Clarke,
Lebanon Hanover,
The Neon Judgement,
Vainqueur,
Oppenheimer Analysis,
Buzzcocks,
The Modern Lovers,
Max Romeo,
The Motions,
Pantytec,
Pantaleimon,
Bootsy Collins,
Chris & Cosey,
Inner City,
Nico,
Cabaret Voltaire,
Skriet,
Eyeless In Gaza,
Sun Ra,
Black Pus,
Easy Going,
Rhythm & Sound,
DJ Style,
Steve Hackett,
Hashim,
Can,
Matthew Bourne,
Roxette,
Bronski Beat,
The Music Machine,
Nils Olav,
Ponytail,
Deutsch Amerikanische Freundschaft,
The Selecter,
Girls At Our Best!,
Maleditus Sound,
The Victims,
Avey Tare,
Vaughan Mason & Crew,
Faust,
Mission of Burma,
The Knickerbockers,
Sexual Harrassment,
Sugar Minott,
the Association,
Delon & Dalcan,
Crispy Ambulance,
Sparks,
Quadrant,
Dawn Penn, Dawn Penn, Dawn Penn, Dawn Penn.
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.