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 United Kingdom and from Calgary.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1970.
I'm losing my edge.
To all the kids in Bremen and Philadelphia.
I'm losing my edge to the art-school Edmonton 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Make Up to the punk 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 Whodini. All the underground hits.
All Flipper tracks. I heard you have a vinyl of every Barclay James Harvest 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
the Soft Cell,
The Durutti Column,
Grey Daturas,
Marshall Jefferson,
Massinfluence,
Lakeside,
Black Bananas,
Alton Ellis,
Notorious Big And Bone Thugs,
DNA,
Visionaries,LMNO, T- Love & Iriscience,
Anakelly,
Glambeats Corp.,
Amazonics,
Slave,
the Bar-Kays,
Little Man,
Audionom,
Lightning Bolt,
Bauhaus,
Spandau Ballet,
Jeru the Damaja,
Avey Tare & Kría Brekkan,
Barry Ungar,
Bobby Sherman,
The Toasters,
Scion,
Agitation Free,
Mission of Burma,
Basic Channel,
Captain Beefheart & His Magic Band,
Khruangbin,
Sun City Girls,
Public Enemy,
Pylon,
The Vogues,
KRS-One,
Fear,
Rhythm & Sound,
John Cale,
Man Eating Sloth,
Lyres,
Ituana,
Scott Walker,
Vaughan Mason & Crew,
The Sonics,
Young Marble Giants,
Judy Mowatt,
Black Sheep,
Model 500,
OOIOO,
Y Pants,
Flipper,
Jeff Lynne,
La Düsseldorf,
Au Pairs,
K-Klass,
Mary Jane Girls,
Mr. Review,
Ten City, Ten City, Ten City, Ten City.
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.