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 Zambia and from Accra.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Toronto and Mexico City.
I'm losing my edge to the art-school Toronto 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 rhodes 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 Nation of Ulysses to the funk kids.
I played it at CBGB's.
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 Marc Romboy vs. Booka Shade. All the underground hits.
All Black Bananas tracks. I heard you have a vinyl of every Be Bop Deluxe record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Birthday Party record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Busters,
The Offenders,
Quando Quango,
Lou Reed & Metallica,
AZ,
Albert Ayler,
Louis and Bebe Barron,
Gil Scott Heron,
Tomorrow,
Agitation Free,
the Slits,
Nico,
Heavy D & The Boyz,
Eden Ahbez,
Terry Callier,
Roxy Music,
Cecil Taylor,
Cameo,
James White and The Blacks,
Blossom Toes,
The Doors,
Alice Coltrane,
The Mummies,
Blancmange,
Strawberry Alarm Clock,
Captain Beefheart & His Magic Band,
Crispy Ambulance,
Donald Byrd,
Japan,
Lyres,
Cabaret Voltaire,
Outsiders,
Unrelated Segments,
Bobby Sherman,
Art Ensemble Of Chicago,
Brass Construction,
Andrew Hill,
EPMD,
Jesper Dahlback,
Goldenarms,
the Normal,
New Age Steppers,
The Mighty Diamonds,
Minor Threat,
Siouxsie and the Banshees,
Lungfish,
Audionom,
Lindisfarne,
Ornette Coleman,
Public Image Ltd.,
Icehouse,
Barclay James Harvest,
Soul II Soul,
The Birthday Party,
Gerry Rafferty,
Mandrill,
Stockholm Monsters,
Ajijia Myrayebe,
Al Stewart,
Marcia Griffiths,
Jerry Gold Smith,
Soft Machine,
Q and Not U,
Simply Red, Simply Red, Simply Red, Simply Red.
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.