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 Iceland and from Jakarta.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Glasgow and Manchester.
I'm losing my edge to the art-school London 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 arpeggiator 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 Nico to the dance kids.
I played it at Trash.
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 Bill Near. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every The Invisible 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 harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Thompson Twins record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alphaville,
Rhythim Is Rhythim,
Gang of Four,
Connie Case,
Iggy Pop,
Audionom,
Rowland S Howard / Lydia Lunch,
LL Cool J,
David Axelrod,
Alice Coltrane,
Franke,
A Certain Ratio,
In Retrospect,
The Human League,
Skarface,
Anthony Braxton,
Steve Hackett,
Pere Ubu,
Harpers Bizarre,
A Flock of Seagulls,
Reagan Youth,
Toni Rubio,
Rapeman,
the Bar-Kays,
Thompson Twins,
Dawn Penn,
Strawberry Alarm Clock,
Soulsonic Force,
The Gun Club,
Black Moon,
Infiniti,
Grauzone,
T. Rex,
The Move,
John Coltrane,
Public Enemy,
Youth Brigade,
The Star Department,
The Blackbyrds,
The Gladiators,
Gang Green,
La Düsseldorf,
the Fania All-Stars,
Anakelly,
The Martian,
Black Flag,
Ice-T,
Visionaries,LMNO, T- Love & Iriscience,
The Moody Blues,
Wasted Youth,
Stetsasonic,
These Immortal Souls,
The Leaves,
The Pretty Things,
The Fall,
The Doors,
Pantytec,
Lou Reed,
Neil Young & Crazy Horse,
Dark Day,
Roger Hodgson, Roger Hodgson, Roger Hodgson, Roger Hodgson.
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.