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 Kosovo and from Philadelphia.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Lagos and New York.
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 güiro 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 Davy DMX to the rock 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 John Foxx. All the underground hits.
All Minny Pops tracks. I heard you have a vinyl of every Todd Terry 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 '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Grauzone record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Avey Tare & Kría Brekkan,
The Names,
X-101,
Camberwell Now,
La Düsseldorf,
X-Ray Spex,
The Cowsills,
The Divine Comedy,
Groovy Waters,
Chris & Cosey,
Dark Day,
The Real Kids,
Flash Fearless,
the Swans,
Toni Rubio,
Bootsy's Rubber Band,
Radiohead,
Black Sheep,
PIL,
Althea and Donna,
Janne Schatter,
Matthew Halsall,
Rapeman,
Spandau Ballet,
Buzzcocks,
Boredoms,
Andrew Hill,
Supertramp,
Hot Snakes,
Eve St. Jones,
The Mojo Men,
Todd Rundgren,
Essential Logic,
Joensuu 1685,
Ituana,
The Last Poets,
The Fuzztones,
Leonard Cohen,
Joe Finger,
Malaria!,
Half Japanese,
Bauhaus,
the Slits,
Monks,
The Beau Brummels,
Iggy Pop,
David McCallum,
Rod Modell,
Talk Talk,
Pharoah Sanders,
Dual Sessions,
Lee Hazlewood,
Nik Kershaw,
In Retrospect,
Vladislav Delay,
Kerri Chandler,
Nas,
Eurythmics,
JFA,
Bobby Womack,
Mr. Review, Mr. Review, Mr. Review, Mr. Review.
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.