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 Liberia and from Taipei.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1960 to 1972.
I'm losing my edge.
To all the kids in Portland and Stockholm.
I'm losing my edge to the art-school Salvador 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 sitar sounds with much patience.
I was there when Robert Palmer 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 Be Bop Deluxe to the electroclash kids.
I played it at CBGB's.
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 Model 500. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Kas Product 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 '80s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oblivians,
Fela Kuti,
The Young Rascals,
The Evens,
The Residents,
Eric Copeland,
Big Daddy Kane,
Peter and Kerry,
The Real Kids,
Bronski Beat,
Banda Bassotti,
FM Einheit,
The Monochrome Set,
Moss Icon,
Kango’s Stein Massive,
T. Rex,
Supertramp,
Kevin Saunderson,
The New Christs,
8 Eyed Spy,
Barry Ungar,
Black Bananas,
Agitation Free,
Pere Ubu,
Black Pus,
Dark Day,
Popol Vuh,
Rapeman,
Crash Course in Science,
Radio Birdman,
Lungfish,
Porter Ricks,
Eve St. Jones,
Soft Cell,
Simply Red,
China Crisis,
Terry Callier,
Radiopuhelimet,
London Community Gospel Choir,
Sugar Minott,
David Bowie,
Con Funk Shun,
Bauhaus,
Man Eating Sloth,
Derrick May,
Prince Buster,
Glambeats Corp.,
Arthur Verocai,
Tropical Tobacco,
Second Layer,
Al Stewart,
Fear,
a-ha,
Thee Headcoats,
Josef K,
David McCallum,
Howard Jones,
48th St. Collective,
Echospace,
The Smoke,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.