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 Jamaica and from Sao Paulo.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Halifax and Columbus.
I'm losing my edge to the art-school Madrid 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Dennis Brown to the grunge kids.
I played it at the Astoria.
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 Gregory Isaacs. All the underground hits.
All Trumans Water tracks. I heard you have a vinyl of every The Victims record on German import.
I heard that you have a white label of every seminal punk 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 spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Skriet record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kango’s Stein Massive,
Delon & Dalcan,
Gang of Four,
Orchestral Manoeuvres in the Dark,
Michelle Simonal,
X-Ray Spex,
Ituana,
the Sonics,
The Velvet Underground,
the Soft Cell,
John Cale,
Vaughan Mason & Crew,
Surgeon,
the Bar-Kays,
Josef K,
Soft Machine,
Boredoms,
Ponytail,
Sam Rivers,
Blossom Toes,
Bobby Sherman,
Electric Light Orchestra,
Simply Red,
The Searchers,
Major Organ And The Adding Machine,
Icehouse,
Fat Boys,
Thee Headcoats,
Sad Lovers and Giants,
Glenn Branca,
Joe Finger,
Aural Exciters,
Quantec,
Los Fastidios,
The Chocolate Watch Band,
Sonny Sharrock,
Suburban Knight,
Japan,
Beasts of Bourbon,
Easy Going,
Maleditus Sound,
The Monks,
The Cowsills,
Robert Görl,
Don Cherry,
Gian Franco Pienzio,
The Fire Engines,
Minutemen,
Electric Prunes,
Ken Boothe,
Dual Sessions,
Howard Jones,
Angels of Light & Akron/Family,
Mo-Dettes,
Röyhkä ja Rättö ja Lehtisalo,
The Beau Brummels,
Roy Ayers Ubiquity,
The Durutti Column,
Harmonia,
The Divine Comedy,
Desert Stars,
The Remains, The Remains, The Remains, The Remains.
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.