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 Solomon Islands and from Salvador.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Madrid.
I'm losing my edge to the art-school Delhi 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro 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 B.T. Express to the rock 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 Brothers Johnson. All the underground hits.
All KRS-One tracks. I heard you have a vinyl of every The Royal Family And The Poor record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Radio Birdman record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Be Bop Deluxe,
Pantaleimon,
the Germs,
Stockholm Monsters,
Sarah Menescal,
Albert Ayler,
Charles Mingus,
Massinfluence,
Brick,
Dark Day,
Frankie Knuckles,
Orchestral Manoeuvres in the Dark,
Gil Scott Heron,
The Associates,
Maurizio,
The Raincoats,
Tomorrow,
Fatback Band,
The Residents,
Ponytail,
Crispian St. Peters,
Lucky Dragons,
Jandek,
Chris Corsano,
Matthew Bourne,
The Gun Club,
Moebius,
Cluster,
Pylon,
Steve Hackett,
Ossler,
Lungfish,
James Chance & The Contortions,
Audionom,
Sister Nancy,
Black Flag,
Roxette,
The Vogues,
Basic Channel,
The Saints,
Matthew Halsall,
the Soft Cell,
Jimmy McGriff,
Dave Gahan,
Robert Hood,
Hashim,
Black Sheep,
kango's stein massive,
Faust,
Flamin' Groovies,
Erykah Badu,
Jeff Mills,
Public Image Ltd.,
Young Marble Giants,
Tropical Tobacco,
Vainqueur,
MDC,
DJ Sneak,
Groovy Waters,
The Beau Brummels,
Lyres,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.