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 Ireland and from Lyon.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1971.
I'm losing my edge.
To all the kids in Philadelphia and Halifax.
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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Robert Görl to the dance 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 Q65. All the underground hits.
All Oneida tracks. I heard you have a vinyl of every the Slits record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scratch Acid,
James Chance & The Contortions,
Vladislav Delay,
Major Organ And The Adding Machine,
Basic Channel,
The Sisters of Mercy,
Brass Construction,
Albert Ayler,
The Tremeloes,
Supertramp,
Lee Hazlewood,
Kenny Larkin,
Pere Ubu,
The Index,
Ash Ra Tempel,
Oppenheimer Analysis,
One Last Wish,
Adolescents,
Howard Jones,
Captain Beefheart & His Magic Band,
John Foxx,
DJ Sneak,
Lou Christie,
The Divine Comedy,
Rotary Connection,
Public Image Ltd.,
Flamin' Groovies,
Half Japanese,
Lungfish,
Lyres,
Eric Copeland,
The Doors,
Desert Stars,
The Doobie Brothers,
Bizarre Inc.,
Babytalk,
The Techniques,
Janne Schatter,
Matthew Bourne,
Sound Behaviour,
T. Rex,
The Blackbyrds,
Qualms,
Mantronix,
Girls At Our Best!,
The Searchers,
The Blues Magoos,
Sparks,
The Kinks,
Essential Logic,
Jerry's Kids,
DNA,
Robert Görl,
Skarface,
Trumans Water,
Beasts of Bourbon,
Gil Scott-Heron & Brian Jackson,
Dennis Brown,
Bronski Beat,
Joensuu 1685,
Q65,
Second Layer,
R.M.O.,
Depeche Mode,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.