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 Kenya and from Toronto.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Madrid and Salvador.
I'm losing my edge to the art-school Cairo 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the spring reverb sounds with much patience.
I was there when Michael McDonald 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 Happenings to the rock kids.
I played it at the Hacienda.
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 Kaleidoscope. All the underground hits.
All Rites of Spring tracks. I heard you have a vinyl of every Altered Images record on German import.
I heard that you have a white label of every seminal crunk 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 synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Rundgren,
Pantytec,
Funkadelic,
Marmalade,
Drexciya,
The Evens,
Unrelated Segments,
Crispian St. Peters,
R.M.O.,
Bluetip,
Scratch Acid,
Ohio Players,
Sad Lovers and Giants,
Parry Music,
Magma,
Ronan,
The Standells,
Circle Jerks,
Lalann,
Model 500,
Flash Fearless,
Chris & Cosey,
Lee Hazlewood,
Hoover,
F. McDonald,
Soft Machine,
Pet Shop Boys,
Section 25,
The Kinks,
Notorious Big And Bone Thugs,
Joe Finger,
Tears for Fears,
Das Ding,
Jeff Lynne,
Aloha Tigers,
Marcia Griffiths,
Gerry Rafferty,
The Zeros,
The Mojo Men,
Wolf Eyes,
Vainqueur,
Radio Birdman,
The Raincoats,
Terrestrial Tones,
Bad Manners,
Maleditus Sound,
The Victims,
Matthew Halsall,
Moebius,
Graham Central Station,
Bob Dylan,
Kool G Rap & DJ Polo,
Barry Ungar,
Barclay James Harvest,
Grey Daturas,
Sällskapet,
Lower 48,
Metal Thangz,
This Heat,
Mark Hollis,
Lakeside,
The Peanut Butter Conspiracy,
Red Lorry Yellow Lorry,
Jawbox, Jawbox, Jawbox, Jawbox.
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.