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 Belgium and from Bologna.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Portland and Johannesburg.
I'm losing my edge to the art-school Lagos 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 snare sounds with much patience.
I was there when Holger Czukay 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 Joe Smooth to the grunge kids.
I played it at the Roxy.
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 The Names. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every New York Dolls record on German import.
I heard that you have a white label of every seminal funk 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 an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mark Hollis,
The Seeds,
Wally Richardson,
It's A Beautiful Day,
Massinfluence,
The Gun Club,
The Pretty Things,
Blancmange,
Sly & The Family Stone,
Yaz,
Livin' Joy,
Intrusion,
Delon & Dalcan,
Marc Almond,
Laurel Aitken,
The Last Poets,
U.S. Maple,
Brand Nubian,
The Flesh Eaters,
Ornette Coleman,
The Raincoats,
World's Most,
Archie Shepp,
Rekid,
Lalo Schifrin,
Roy Ayers,
Youth Brigade,
Wasted Youth,
R.M.O.,
Gichy Dan,
Aaron Thompson,
Funkadelic,
Ultimate Spinach,
Siglo XX,
Skarface,
The Angels of Light,
Silicon Teens,
James Chance & The Contortions,
Kenny Larkin,
Sandy B,
The Associates,
The Sonics,
Lebanon Hanover,
Urselle,
The Searchers,
Cluster,
Isaac Hayes,
Terry Callier,
Brick,
The Motions,
Tears for Fears,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Harmonia,
48th St. Collective,
Grauzone,
Maleditus Sound,
The Young Rascals,
Radiohead,
Lou Reed,
Quando Quango,
The Happenings, The Happenings, The Happenings, The Happenings.
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.