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 Bolivia and from Stockholm.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Johannesburg and Salvador.
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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba 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 Lungfish to the jazz 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 Scott Walker. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Saccharine Trust record on German import.
I heard that you have a white label of every seminal disco 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 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Heaven 17 record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gap Band,
Los Fastidios,
David McCallum,
the Soft Cell,
Bob Dylan,
Royal Trux,
The Fugs,
Davy DMX,
Bizarre Inc.,
The Searchers,
John Lydon,
Second Layer,
The Detroit Cobras,
Gian Franco Pienzio,
Black Flag,
Eli Mardock,
Urselle,
Tears for Fears,
Ultravox,
Wire,
Blancmange,
The Doors,
Nik Kershaw,
The Royal Family And The Poor,
The Slits,
Joey Negro,
Avey Tare's Slasher Flicks,
Brass Construction,
Scott Walker + Sunn O))),
Kerri Chandler,
Malaria!,
Joensuu 1685,
Lou Reed & Metallica,
Siouxsie and the Banshees,
Gerry Rafferty,
Q65,
Stockholm Monsters,
Banda Bassotti,
Ice-T,
New Order,
Minutemen,
Buzzcocks,
Kurtis Blow,
Bauhaus,
Dawn Penn,
Lyres,
Lower 48,
Andrew Hill,
Adolescents,
Saccharine Trust,
The Birthday Party,
The Techniques,
Interpol,
Sexual Harrassment,
The Blues Magoos,
Glenn Branca,
The Vogues,
Supertramp,
Excepter,
Grandmaster Flash,
DeepChord presents Echospace,
Lou Reed,
Jerry's Kids,
Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra, Electric Light Orchestra.
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.