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 Lebanon and from Bremen.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Taipei and New York.
I'm losing my edge to the art-school Beijing 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the theremin 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 Flash Fearless to the rock 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 Flamin' Groovies. All the underground hits.
All Ohio Players tracks. I heard you have a vinyl of every Spandau Ballet record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Public Image Ltd. record.
I hear that you and your band have sold your organ and bought an oboe.
I hear that you and your band have sold your oboe and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
The Cowsills,
La Düsseldorf,
Althea and Donna,
The Sonics,
Davy DMX,
Ultravox,
Sexual Harrassment,
Soul II Soul,
Boogie Down Productions,
Avey Tare & Kría Brekkan,
Patti Smith,
Ten City,
Ajijia Myrayebe,
Henry Cow,
Gong,
The Divine Comedy,
Matthew Bourne,
Desert Stars,
Orchestral Manoeuvres in the Dark,
Donny Hathaway,
Lou Reed & John Cale,
The Black Dice,
Suicide,
The Neon Judgement,
Bobbi Humphrey,
Sight & Sound,
Sun Ra Arkestra,
Symarip,
AZ,
the Swans,
Susan Cadogan,
Jesper Dahlbäck,
Sunsets and Hearts,
The Barracudas,
Gary Puckett & The Union Gap,
Grauzone,
Goldenarms,
X-Ray Spex,
The Searchers,
Newcleus,
Joensuu 1685,
Drive Like Jehu,
Soft Machine,
Lungfish,
Pharoah Sanders,
Eric B and Rakim,
The Vogues,
Barbara Tucker,
Peter and Kerry,
Buzzcocks,
Fat Boys,
Neil Young & Crazy Horse,
This Heat,
Sly & The Family Stone,
Joy Division,
Amon Düül,
Rhythm & Sound,
Mary Jane Girls,
Avey Tare,
John Holt, John Holt, John Holt, John Holt.
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.