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 Gambia and from Edmonton.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1963 to 1977.
I'm losing my edge.
To all the kids in Lille and Bremen.
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 oboe sounds with much patience.
I was there when Tom Verlaine 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 Flipper to the grunge kids.
I played it at the 40 Watt.
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 Half Japanese. All the underground hits.
All The Angels of Light tracks. I heard you have a vinyl of every Visage record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pussy Galore record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Beasts of Bourbon,
The Sisters of Mercy,
Deutsch Amerikanische Freundschaft,
Sunsets and Hearts,
Ten City,
Blake Baxter,
Pantytec,
Liaisons Dangereuses,
Kauko Röyhkä ja Narttu,
Avey Tare's Slasher Flicks,
Marmalade,
Dawn Penn,
The J.B.'s,
Captain Beefheart & His Magic Band,
Terrestrial Tones,
Wolf Eyes,
the Fania All-Stars,
Barrington Levy,
The Fall,
The Doors,
Deakin,
The Skatalites,
The Move,
Scion,
Lightning Bolt,
R.M.O.,
Echospace,
Suburban Knight,
48th St. Collective,
Don Cherry,
Archie Shepp,
the Bar-Kays,
Thee Headcoats,
Tom Boy,
Minnie Riperton,
Dorothy Ashby,
The Birthday Party,
CMW,
Gichy Dan,
Desert Stars,
Alton Ellis,
Sugar Minott,
Pylon,
Joe Smooth,
Barbara Tucker,
Gregory Isaacs,
Rhythim Is Rhythim,
Warren Ellis,
Unrelated Segments,
Susan Cadogan,
Chris & Cosey,
Grandmaster Flash,
New Age Steppers,
Black Moon,
Ralphi Rosario,
Kool Moe Dee,
Bill Wells,
New Order,
Spandau Ballet,
MC5,
Blancmange,
Peter and Kerry,
UT, UT, UT, UT.
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.