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 Taiwan and from Tokyo.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Jakarta.
I'm losing my edge to the art-school Sao Paulo 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the organ sounds with much patience.
I was there when Captain Beefheart 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 Desert Stars to the grime kids.
I played it at the Crocodile.
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 Spoonie Gee. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every cv313 record on German import.
I heard that you have a white label of every seminal electroclash 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 theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Count Five record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Zero Boys,
Tom Boy,
Alison Limerick,
The Wake,
Derrick Morgan,
Magazine,
The Pop Group,
Peter Gordon & Love of Life Orchestra,
Unrelated Segments,
Man Eating Sloth,
The Tremeloes,
Pierre Henry,
Echospace,
Cecil Taylor,
Juan Atkins,
Bobby Byrd,
Man Parrish,
Ash Ra Tempel,
Don Cherry,
The Electric Prunes,
Gong,
Skarface,
The Music Machine,
Traffic Nightmare,
Nation of Ulysses,
Ken Boothe,
Depeche Mode,
Gastr Del Sol,
Bauhaus,
Jesper Dahlbäck,
Kings Of Tomorrow,
Laurel Aitken,
Vaughan Mason & Crew,
Arab on Radar,
Grey Daturas,
Eli Mardock,
Captain Beefheart & His Magic Band,
Justin Hinds & The Dominoes,
Crispy Ambulance,
Rakim,
Roger Hodgson,
The Durutti Column,
Aural Exciters,
Gian Franco Pienzio,
Gabor Szabo,
Fela Kuti,
Joe Smooth,
Deakin,
Flipper,
Banda Bassotti,
Mark Hollis,
Skriet,
Ituana,
Swans,
Lou Reed & John Cale,
Index,
Dual Sessions,
June of 44,
Organ,
Boogie Down Productions,
The Gun Club, The Gun Club, The Gun Club, The Gun Club.
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.