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 Kenya and from Philadelphia.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Glasgow.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the organ 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 Von Mondo to the dance 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 Sister Nancy. All the underground hits.
All The United States of America tracks. I heard you have a vinyl of every Mandrill 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 '70s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a John Cale record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Marshall Jefferson,
Kerrie Biddell,
Circle Jerks,
Gerry Rafferty,
Peter and Kerry,
Vaughan Mason & Crew,
Agitation Free,
Sound Behaviour,
The Modern Lovers,
The Pop Group,
Larry & the Blue Notes,
Andrew Hill,
Josef K,
Harmonia,
The Velvet Underground,
the Bar-Kays,
Gary Puckett & The Union Gap,
Arcadia,
The Cure,
Sällskapet,
Pylon,
the Sonics,
Ronan,
Sun Ra,
Fugazi,
Steve Hackett,
Little Man,
The Moody Blues,
Blancmange,
Siglo XX,
E-Dancer,
Gil Scott-Heron and Jamie xx,
A Certain Ratio,
Symarip,
Pole,
Ten City,
Whodini,
Y Pants,
Das Ding,
the Fania All-Stars,
Bob Dylan,
Ohio Players,
Urselle,
Skarface,
Dorothy Ashby,
Lalo Schifrin,
Beasts of Bourbon,
Ultravox,
Charles Mingus,
Marcia Griffiths,
Scratch Acid,
Jeff Mills,
Loose Ends,
Crash Course in Science,
Public Image Ltd.,
Sad Lovers and Giants,
Sandy B,
Erykah Badu,
Rowland S Howard / Lydia Lunch,
Rites of Spring,
The United States of America, The United States of America, The United States of America, The United States of America.
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.