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 Morocco and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Stockholm.
I'm losing my edge to the art-school Bremen 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 theremin 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 The Skatalites to the crunk 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 Slave. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Faraquet 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Nick Cave & The Bad Seeds record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
Dawn Penn,
Barry Ungar,
Tim Buckley,
Goldenarms,
The Doors,
Bootsy's Rubber Band,
The Red Krayola,
Donny Hathaway,
Thinking Fellers Union Local 282,
Urselle,
Suburban Knight,
The Gladiators,
Art Ensemble Of Chicago,
Boredoms,
Thee Headcoats,
Pharaoh Sanders and the Fire Engines,
The Moody Blues,
Rites of Spring,
The Star Department,
DNA,
Kayak,
Thompson Twins,
Zapp,
Moss Icon,
Scott Walker,
Joensuu 1685,
Wally Richardson,
The Neon Judgement,
Throbbing Gristle,
Arcadia,
Pylon,
The Leaves,
Jerry Gold Smith,
Stetsasonic,
Gary Puckett & The Union Gap,
The Walker Brothers,
Ajijia Myrayebe,
JFA,
Sound Behaviour,
Sam Rivers,
the Fania All-Stars,
Intrusion,
Lee Hazlewood,
Morten Harket,
The Dave Clark Five,
Pole,
Röyhkä ja Rättö ja Lehtisalo,
David McCallum,
Nils Olav,
Sister Nancy,
Sarah Menescal,
Ultramagnetic MC's,
Lucky Dragons,
Lakeside,
Rapeman,
Joy Division,
Amazonics,
Wighnomy Brothers & Robag Wruhme,
The Moleskins,
8 Eyed Spy,
H. Thieme,
Barbara Tucker,
Quadrant, Quadrant, Quadrant, Quadrant.
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.