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 Saudi Arabia and from Johannesburg.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Glasgow and Lagos.
I'm losing my edge to the art-school Tehran 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 mellotron sounds with much patience.
I was there when David Bowie 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 Sound Behaviour to the dance kids.
I played it at Cafe Wha.
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 June Days. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every De La Soul & Jungle Brothers record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Throbbing Gristle record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Depeche Mode,
Kas Product,
Roy Ayers,
Sarah Menescal,
The Moody Blues,
Electric Prunes,
This Heat,
Ultra Naté,
Röyhkä ja Rättö ja Lehtisalo,
Selector Dub Narcotic,
The Buckinghams,
Pet Shop Boys,
Angry Samoans,
Pere Ubu,
The Selecter,
Strawberry Alarm Clock,
Lakeside,
Visage,
Matthew Bourne,
David McCallum,
Steve Hackett,
Yaz,
PIL,
Crime,
Moby Grape,
The Fall,
Ornette Coleman,
Half Japanese,
48th St. Collective,
Accadde A,
the Association,
The Seeds,
New Order,
Interpol,
Spoonie Gee,
Black Bananas,
Urselle,
Justin Hinds & The Dominoes,
Surgeon,
Lou Christie,
Junior Murvin,
Hoover,
Dennis Brown,
Eurythmics,
Franke,
Banda Bassotti,
The Cramps,
the Swans,
Altered Images,
Kerrie Biddell,
Boogie Down Productions,
The Cosmic Jokers,
The Vogues,
Louis and Bebe Barron,
Ultramagnetic MC's,
Scion,
Morten Harket,
Little Man,
Mars,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
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.