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 Salvador.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1968 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Lagos.
I'm losing my edge to the art-school Winnipeg 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 The Sisters of Mercy to the jazz kids.
I played it at the Troubador.
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 Goldenarms. All the underground hits.
All The Doors tracks. I heard you have a vinyl of every Donald Byrd 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 '80s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your theremin and bought an organ.
I hear that you and your band have sold your organ 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 Blues Magoos,
the Germs,
Bobbi Humphrey,
Camberwell Now,
The Beau Brummels,
Bill Near,
Grauzone,
KRS-One,
Qualms,
Röyhkä ja Rättö ja Lehtisalo,
the Fania All-Stars,
Nas,
The Victims,
the Normal,
Henry Cow,
Hardrive,
The Dave Clark Five,
Alice Coltrane,
Cabaret Voltaire,
Gang Gang Dance,
Graham Central Station,
The Detroit Cobras,
Blancmange,
Tears for Fears,
Lightning Bolt,
Soulsonic Force,
X-101,
World's Most,
Eden Ahbez,
Thompson Twins,
Warren Ellis,
Black Sheep,
The Offenders,
JFA,
Erasure,
Dorothy Ashby,
The Sisters of Mercy,
The Move,
Cybotron,
Sex Pistols,
Donny Hathaway,
Andrew Ashong & Theo Parrish,
AZ,
The Names,
The Pretty Things,
Visage,
Gang Starr,
David Axelrod,
Sun City Girls,
DJ Style,
Alton Ellis,
Terry Callier,
Gian Franco Pienzio,
Matthew Halsall,
Amon Düül,
K-Klass,
Rowland S Howard / Lydia Lunch,
The Fire Engines,
The Chocolate Watch Band,
Richard Hell and the Voidoids,
The Moleskins,
Drive Like Jehu,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.