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 Pakistan and from Stockholm.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Salvador and Hong Kong.
I'm losing my edge to the art-school Lille 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 Josef K practice in a loft in Edinburgh.
I was working on the mellotron 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 Kango’s Stein Massive to the jazz kids.
I played it at Cafe Wha.
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 Beau Brummels. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Index record on German import.
I heard that you have a white label of every seminal grime 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 clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Mary Jane Girls record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Age Steppers,
Art Ensemble Of Chicago,
Bill Wells,
Can,
MC5,
Idris Muhammad,
Lebanon Hanover,
The Modern Lovers,
John Foxx,
Mad Mike,
Richard Hell and the Voidoids,
Crooked Eye,
Basic Channel,
Nick Cave & The Bad Seeds,
Bobby Byrd,
Chrome,
kango's stein massive,
Heavy D & The Boyz,
Avey Tare's Slasher Flicks,
Audionom,
Monolake,
Tres Demented,
Gian Franco Pienzio,
Darondo,
Fatback Band,
The Dirtbombs,
Soul II Soul,
Charles Mingus,
Alton Ellis,
The Fugs,
Fear,
Index,
Spoonie Gee,
Aloha Tigers,
The Litter,
Lyres,
Half Japanese,
The Electric Prunes,
Magma,
Peter & Gordon,
Unwound,
Byron Stingily,
Joe Smooth,
The Men They Couldn't Hang,
Justin Hinds & The Dominoes,
Zapp,
Andrew Ashong & Theo Parrish,
The Cure,
Stiv Bators,
Tears for Fears,
Traffic Nightmare,
Joy Division,
Jacques Brel,
Visionaries,LMNO, T- Love & Iriscience,
Rhythim Is Rhythim,
The Offenders,
Tim Buckley,
Grandmaster Flash,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.