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 Woodstock.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Shanghai and New York.
I'm losing my edge to the art-school Paris 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the linndrum sounds with much patience.
I was there when Donald Fagen 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 The Moody Blues to the rap kids.
I played it at Trash.
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 It's A Beautiful Day. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Outsiders 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 '80s cut and another box set from the '90s.
I hear you're buying a mellotron and an organ and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Kauko Röyhkä ja Narttu,
Warsaw,
Gichy Dan,
The Cure,
Arthur Verocai,
Radiohead,
Ultra Naté,
Zero Boys,
Alton Ellis,
Mary Jane Girls,
Sam Rivers,
One Last Wish,
The Gap Band,
Ultravox,
Suicide,
Motorama,
Robert Wyatt,
Max Romeo,
Hardrive,
Delta 5,
Mad Mike,
Barrington Levy,
Johnny Osbourne,
Isaac Hayes,
Robert Hood,
Agent Orange,
Neil Young & Crazy Horse,
The Standells,
Wally Richardson,
Liliput,
Lakeside,
Crispy Ambulance,
Livin' Joy,
Strawberry Alarm Clock,
Fluxion,
Sarah Menescal,
cv313,
Derrick May,
Black Flag,
The Cosmic Jokers,
Laurel Aitken,
Bang On A Can,
Subhumans,
Andrew Ashong & Theo Parrish,
Electric Prunes,
T. Rex,
Circle Jerks,
The Blues Magoos,
Gary Puckett & The Union Gap,
Fela Kuti,
Ronnie Foster,
Brick,
The Leaves,
Mr. Review,
Colin Newman,
The Names,
The Stooges,
Girls At Our Best!,
Lebanon Hanover,
China Crisis,
Von Mondo,
Negative Approach,
The Wake, The Wake, The Wake, The Wake.
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.