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 Togo and from Manchester.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1971.
I'm losing my edge.
To all the kids in Columbus and Houston.
I'm losing my edge to the art-school London 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 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 Surgeon to the dance kids.
I played it at the 40 Watt.
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 Kerrie Biddell. All the underground hits.
All The Modern Lovers tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
The Wake,
Siouxsie and the Banshees,
K-Klass,
Japan,
Connie Case,
Subhumans,
Fela Kuti,
The Smiths,
Suburban Knight,
Whodini,
Sad Lovers and Giants,
the Bar-Kays,
The Saints,
Saccharine Trust,
Angry Samoans,
Public Enemy,
Eve St. Jones,
Dead Boys,
James Chance & The Contortions,
Hoover,
Icehouse,
The Human League,
Interpol,
Cybotron,
The Buckinghams,
Scott Walker,
Mission of Burma,
Sarah Menescal,
Newcleus,
Ludus,
Jacques Brel,
Matthew Halsall,
Ronan,
Harry Pussy,
Ultravox,
Traffic Nightmare,
Kango’s Stein Massive,
Reuben Wilson,
Wighnomy Brothers & Robag Wruhme,
Joy Division,
Junior Murvin,
Camberwell Now,
John Lydon,
Dorothy Ashby,
Grauzone,
Brothers Johnson,
Moss Icon,
CMW,
AZ,
The Dirtbombs,
Terry Callier,
New Age Steppers,
The Smoke,
Orchestral Manoeuvres in the Dark,
Glenn Branca,
The Mummies,
Second Layer,
Matthew Bourne,
Heavy D & The Boyz,
Captain Beefheart & His Magic Band,
The Fuzztones,
Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu, Kauko Röyhkä ja Narttu.
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.