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 Swaziland and from Taipei.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 Salvador and Beijing.
I'm losing my edge to the art-school Lyon 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 chamberlin 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 Royal Trux to the punk kids.
I played it at the Troubador.
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 Brothers Johnson. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Rowland S Howard / Lydia Lunch record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Litter record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Morten Harket,
Arab on Radar,
X-102,
Fat Boys,
The Residents,
Rapeman,
New Order,
Icehouse,
Robert Hood,
Radio Birdman,
X-101,
Underground Resistance,
Pylon,
Robert Görl,
Infiniti,
Tropical Tobacco,
Symarip,
Eli Mardock,
Japan,
Kenny Larkin,
Mark Hollis,
Electric Prunes,
Slave,
Super Lover Cee & Casanova Rud,
Public Image Ltd.,
Avey Tare's Slasher Flicks,
The Motions,
Minor Threat,
Kayak,
Bobby Sherman,
Vaughan Mason & Crew,
Skriet,
Michelle Simonal,
Technova,
The Cramps,
Matthew Bourne,
Bauhaus,
Kauko Röyhkä ja Narttu,
X-Ray Spex,
Deakin,
Sugar Minott,
Aswad,
Larry & the Blue Notes,
Average White Band,
Rites of Spring,
Nation of Ulysses,
Thee Headcoats,
48th St. Collective,
Mad Mike,
Skarface,
E-Dancer,
The Music Machine,
Kings Of Tomorrow,
Heavy D & The Boyz,
The Count Five,
Lou Reed,
Quadrant,
The West Coast Pop Art Experimental Band,
Byron Stingily,
The Fugs,
Trumans Water,
Laurel Aitken,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.