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 Chile and from Bremen.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Tokyo and Mexico City.
I'm losing my edge to the art-school Spokane 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin 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 X-102 to the funk kids.
I played it at the Hacienda.
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 Danielle Patucci. All the underground hits.
All Scion tracks. I heard you have a vinyl of every The Buckinghams record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Henry Cow,
Mr. Review,
the Bar-Kays,
Deakin,
Sad Lovers and Giants,
The Litter,
Camron Feat. Memphis Bleek And Beenie Seigel,
Gian Franco Pienzio,
Ornette Coleman,
Angry Samoans,
Marine Girls,
Qualms,
Jimmy McGriff,
Deadbeat,
Orchestral Manoeuvres in the Dark,
Sonic Youth,
Dr. Dre and Snoop Doggy Dog,
Visage,
the Swans,
The Cramps,
Harpers Bizarre,
48th St. Collective,
Dead Boys,
Chrome,
The Doors,
The Seeds,
The Associates,
The Pop Group,
Dennis Brown,
Reagan Youth,
Essential Logic,
Aloha Tigers,
Bobby Sherman,
Moby Grape,
Letta Mbulu,
Easy Going,
Radiohead,
The Royal Family And The Poor,
The J.B.'s,
The Gories,
Adolescents,
10cc,
Aaron Thompson,
Altered Images,
UT,
the Fania All-Stars,
June of 44,
Clear Light,
DeepChord presents Echospace,
Rod Modell,
the Soft Cell,
Albert Ayler,
The Mighty Diamonds,
June Days,
Fluxion,
The Golliwogs,
Silicon Teens,
Section 25,
Curtis Mayfield,
Make Up, Make Up, Make Up, Make Up.
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.