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 Edmonton.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Tokyo and Toronto.
I'm losing my edge to the art-school Jakarta 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 arpeggiator 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 the Soft Cell to the rock kids.
I played it at the Spitz.
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 Marshall Jefferson. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every JFA 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boogie Down Productions,
Liliput,
Dark Day,
Nation of Ulysses,
Chrome,
H. Thieme,
The Star Department,
The Mummies,
Severed Heads,
Livin' Joy,
D'Angelo,
Yellowson,
Harmonia,
Rahsaan Roland Kirk,
10cc,
The Dirtbombs,
Scion,
Chris Corsano,
Nils Olav,
New York Dolls,
the Fania All-Stars,
Yaz,
Zero Boys,
Rhythm & Sound,
Sun Ra Arkestra,
Cecil Taylor,
The Birthday Party,
Mo-Dettes,
Popol Vuh,
Connie Case,
The Beau Brummels,
Gil Scott-Heron & Brian Jackson,
Beasts of Bourbon,
Television Personalities,
E-Dancer,
Glambeats Corp.,
Throbbing Gristle,
Godley & Creme,
Lebanon Hanover,
Ultra Naté,
Los Fastidios,
Brothers Johnson,
Big Daddy Kane,
Black Bananas,
Ash Ra Tempel,
Avey Tare,
Excepter,
DeepChord presents Echospace,
Ultramagnetic MC's,
Avey Tare's Slasher Flicks,
Max Romeo,
Fad Gadget,
Brass Construction,
Marc Almond,
Heaven 17,
Henry Cow,
The Neon Judgement,
De La Soul & Jungle Brothers,
Idris Muhammad,
Camberwell Now,
Tropical Tobacco,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.