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 Italy and from Mumbai.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Seoul and Bologna.
I'm losing my edge to the art-school Hong Kong 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 guitar 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 Duran Duran to the disco 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 Buzzcocks. All the underground hits.
All OOIOO tracks. I heard you have a vinyl of every The Birthday Party 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 '70s cut and another box set from the '70s.
I hear you're buying a linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Amazonics record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Make Up,
The Sisters of Mercy,
Banda Bassotti,
Sunsets and Hearts,
Deutsch Amerikanische Freundschaft,
Half Japanese,
Altered Images,
Masters at Work,
The Names,
Lee Hazlewood,
Anthony Braxton,
The Angels of Light,
A Certain Ratio,
Arthur Verocai,
Sparks,
Nirvana,
Boz Scaggs,
Inner City,
Mad Mike,
The Jesus and Mary Chain,
John Cale,
Suburban Knight,
Cluster,
Magma,
Man Parrish,
Darondo,
Mr. Review,
Bad Manners,
Joyce Sims,
The J.B.'s,
Archie Shepp,
Stockholm Monsters,
Jeru the Damaja,
The Velvet Underground,
the Slits,
Black Pus,
Minny Pops,
Liliput,
Jacques Brel,
Arcadia,
Neil Young & Crazy Horse,
Jeff Mills,
Ponytail,
The Pretty Things,
Drexciya,
Susan Cadogan,
Jawbox,
Soul II Soul,
Flash Fearless,
Circle Jerks,
Visionaries,LMNO, T- Love & Iriscience,
The Cowsills,
Magazine,
Dorothy Ashby,
Blossom Toes,
Lebanon Hanover,
Quantec,
The Beau Brummels,
Harpers Bizarre,
The Residents,
Warsaw,
The Motions, The Motions, The Motions, The Motions.
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.