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 Mozambique and from Manila.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Manchester.
I'm losing my edge to the art-school Manila 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 clarinet sounds with much patience.
I was there when Holger Czukay 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 Barrington Levy to the electroclash kids.
I played it at Trash.
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 Deakin. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every The Motions record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare & Kría Brekkan record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
Franke,
Red Lorry Yellow Lorry,
Michelle Simonal,
Orchestral Manoeuvres in the Dark,
Lizzy Mercier Descloux,
Audionom,
Excepter,
Heaven 17,
Pharoah Sanders,
Scrapy,
T. Rex,
Thinking Fellers Union Local 282,
The Mummies,
Intrusion,
the Fania All-Stars,
the Sonics,
Bill Wells,
The Cramps,
Art Ensemble Of Chicago,
Kings Of Tomorrow,
Lower 48,
Fat Boys,
Soulsonic Force,
Drexciya,
Cecil Taylor,
Isaac Hayes,
Sonny Sharrock,
Richard Hell and the Voidoids,
Toni Rubio,
Al Stewart,
Henry Cow,
Scientists,
Mission of Burma,
Electric Prunes,
the Slits,
Zero Boys,
Cheater Slicks,
The Sisters of Mercy,
Glenn Branca,
James Chance & The Contortions,
Soft Cell,
Sun City Girls,
Cluster,
John Lydon,
Funkadelic,
Rakim,
The Associates,
FM Einheit,
Bobby Byrd,
The Real Kids,
Gichy Dan,
Masters at Work,
Desert Stars,
Faust,
Von Mondo,
Brothers Johnson,
Das Ding,
Joy Division,
Hashim,
Echo & the Bunnymen,
Selector Dub Narcotic,
Technova,
Boz Scaggs, Boz Scaggs, Boz Scaggs, Boz Scaggs.
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.