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 Brazil and from Hong Kong.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Edmonton 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the theremin 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 Ponytail 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 Ten City. All the underground hits.
All Franke tracks. I heard you have a vinyl of every Warsaw 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 '90s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Shuggie Otis record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Intrusion,
Crooked Eye,
The Gladiators,
Bush Tetras,
B.T. Express,
Anakelly,
The Sound,
Rufus Thomas,
Brass Construction,
Cameo,
a-ha,
Eric B and Rakim,
48th St. Collective,
The Gun Club,
Matthew Halsall,
Ken Boothe,
The Misunderstood,
10cc,
Gil Scott Heron,
John Cale,
The Real Kids,
Jimmy McGriff,
Kool Moe Dee,
Todd Rundgren,
Isaac Hayes,
Duran Duran,
Scion,
Kerri Chandler,
Jesper Dahlbäck,
The American Breed,
Leonard Cohen,
Red Lorry Yellow Lorry,
T.S.O.L.,
Warsaw,
Gang Gang Dance,
De La Soul & Jungle Brothers,
Qualms,
The Birthday Party,
Alison Limerick,
Gerry Rafferty,
The Fuzztones,
John Holt,
Laurel Aitken,
The Seeds,
Eurythmics,
Kauko Röyhkä ja Narttu,
Bauhaus,
Röyhkä ja Rättö ja Lehtisalo,
June of 44,
Cymande,
Graham Central Station,
Altered Images,
Visage,
Mantronix,
The Cure,
Traffic Nightmare,
Avey Tare's Slasher Flicks,
One Last Wish,
Tubeway Army,
Man Eating Sloth,
Skaos,
Robert Hood,
The Buckinghams, The Buckinghams, The Buckinghams, The Buckinghams.
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.