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 India and from Seoul.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1965 to 1977.
I'm losing my edge.
To all the kids in Madrid and Milan.
I'm losing my edge to the art-school Stockholm 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Jesper Dahlbäck to the grime kids.
I played it at Cafe Wha.
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 Barbara Tucker. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every Agent Orange 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 '50s cut and another box set from the '90s.
I hear you're buying an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your guitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
OOIOO,
The Cure,
Andrew Hill,
Eric B and Rakim,
Ultramagnetic MC's,
Kenny Larkin,
Shuggie Otis,
Bronski Beat,
U.S. Maple,
ABC,
Robert Hood,
Supertramp,
Sarah Menescal,
Mars,
Freddie Wadling,
Peter & Gordon,
The Peanut Butter Conspiracy,
The Fire Engines,
Johnny Osbourne,
The Cramps,
a-ha,
Grandmaster Flash and the Furious Five,
Pylon,
Wighnomy Brothers & Robag Wruhme,
Monolake,
Cal Tjader,
The Chocolate Watch Band,
Connie Case,
Pharoah Sanders,
Fat Boys,
Negative Approach,
Bang On A Can,
The Sonics,
Aloha Tigers,
The Gladiators,
Sonny Sharrock,
Amon Düül II,
Los Fastidios,
The Modern Lovers,
Sugar Minott,
Stereo Dub,
Lightning Bolt,
Sly & The Family Stone,
Lou Reed & John Cale,
EPMD,
Todd Rundgren,
Minny Pops,
New Order,
Jesper Dahlbäck,
Manfred Mann's Earth Band,
Tears for Fears,
The Stooges,
The Residents,
Mantronix,
Colin Newman,
One Last Wish,
Kings Of Tomorrow,
Girls At Our Best!,
Lou Christie,
Selector Dub Narcotic,
The Knickerbockers,
Television,
Cecil Taylor, Cecil Taylor, Cecil Taylor, Cecil Taylor.
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.