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 Norway and from Stockholm.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Beijing and Mumbai.
I'm losing my edge to the art-school New York 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 Michael McDonald 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 Alison Limerick to the crunk kids.
I played it at the Roxy.
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 Lou Reed. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Joe Finger record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Unwound record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
Fat Boys,
Fad Gadget,
Metal Thangz,
James White and The Blacks,
Rites of Spring,
Panda Bear,
ABBA,
Suicide,
Brothers Johnson,
Morten Harket,
The Selecter,
Avey Tare,
Fear,
The Cure,
Frankie Knuckles,
The American Breed,
Janne Schatter,
Soul II Soul,
Spoonie Gee,
Outsiders,
The Birthday Party,
Minnie Riperton,
Liliput,
Sly & The Family Stone,
F. McDonald,
The Cosmic Jokers,
Deepchord,
Bizarre Inc.,
Moby Grape,
Marcia Griffiths,
The Fall,
Nas,
The Busters,
Bill Near,
Jesper Dahlbäck,
Camouflage,
Oppenheimer Analysis,
Art Ensemble Of Chicago,
Sister Nancy,
Josef K,
Index,
Black Flag,
Cabaret Voltaire,
Q and Not U,
The Offenders,
Loose Ends,
Michelle Simonal,
cv313,
Severed Heads,
Kayak,
the Slits,
Newcleus,
Nico,
The Shadows of Knight,
Kauko Röyhkä ja Narttu,
Babytalk,
X-101,
the Bar-Kays,
JFA,
Audionom,
Blancmange, Blancmange, Blancmange, Blancmange.
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.