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 Vanuatu and from Glasgow.
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 1962 to 1974.
I'm losing my edge.
To all the kids in New York and Shanghai.
I'm losing my edge to the art-school Delhi 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 spring reverb 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 Eurythmics to the funk kids.
I played it at the Astoria.
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 Sällskapet. All the underground hits.
All La Düsseldorf tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
Wally Richardson,
Drexciya,
Sticky Fingaz feat. Raekwon,
Desert Stars,
Traffic Nightmare,
Procol Harum,
The Flesh Eaters,
Grauzone,
Joe Finger,
Kerrie Biddell,
Ajijia Myrayebe,
Ornette Coleman,
The Stooges,
Erasure,
The Busters,
Manfred Mann's Earth Band,
Groovy Waters,
FM Einheit,
the Association,
Howard Jones,
Swans,
Delon & Dalcan,
Idris Muhammad,
The Black Dice,
Mantronix,
Scratch Acid,
Angels of Light & Akron/Family,
Lizzy Mercier Descloux,
Aaron Thompson,
A Certain Ratio,
Juan Atkins,
Severed Heads,
Vainqueur,
Minnie Riperton,
Sixth Finger,
PIL,
Angry Samoans,
Toni Rubio,
Eric Dolphy,
The Fire Engines,
Mo-Dettes,
James Chance & The Contortions,
Pharaoh Sanders and the Fire Engines,
JFA,
Stiv Bators,
The Gap Band,
Gil Scott-Heron and Jamie xx,
Robert Wyatt,
Pulsallama,
Mark Hollis,
Scientists,
The Techniques,
Kool Moe Dee,
Oblivians,
Quantec,
Unwound,
Liaisons Dangereuses,
Young Marble Giants,
Lou Reed & John Cale,
Radio Birdman, Radio Birdman, Radio Birdman, Radio Birdman.
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.