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 East Timor and from Portland.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Salvador.
I'm losing my edge to the art-school Johannesburg 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 theremin sounds with much patience.
I was there when David Bowie 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 Tremeloes to the techno 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 Joe Finger. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every Minor Threat 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 '80s cut and another box set from the '80s.
I hear you're buying an oboe and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Deutsch Amerikanische Freundschaft record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
The Happenings,
Aural Exciters,
Graham Central Station,
T. Rex,
Bill Wells,
B.T. Express,
Stereo Dub,
Tommy Roe,
Cheater Slicks,
The Flesh Eaters,
Young Marble Giants,
Terrestrial Tones,
Bluetip,
Negative Approach,
Gang of Four,
Niagra,
Aswad,
Mad Mike,
Model 500,
The Misunderstood,
The Modern Lovers,
Soft Cell,
The Red Krayola,
Sam Rivers,
Dead Boys,
Max Romeo,
Wally Richardson,
Symarip,
Tears for Fears,
James Chance & The Contortions,
Skarface,
Joe Smooth,
The Blackbyrds,
Livin' Joy,
The Selecter,
Blancmange,
The Walker Brothers,
Japan,
Tomorrow,
The Techniques,
Brothers Johnson,
The Jesus and Mary Chain,
Cecil Taylor,
Wighnomy Brothers & Robag Wruhme,
The Gun Club,
Delon & Dalcan,
The Buckinghams,
Bauhaus,
Brass Construction,
Justin Hinds & The Dominoes,
The Electric Prunes,
The Pop Group,
Sonic Youth,
Toni Rubio,
Nick Fraelich,
Leonard Cohen,
Don Cherry,
Desert Stars,
Accadde A,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.