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 Mauritania and from Woodstock.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Lagos.
I'm losing my edge to the art-school Columbus 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 theremin 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 Marc Almond to the grime kids.
I played it at the Spitz.
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 The Smiths. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every The Birthday Party 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 '80s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Faust record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Clear Light,
Ludus,
UT,
The Gladiators,
Pole,
Ultravox,
Subhumans,
Youth Brigade,
Circle Jerks,
The Buckinghams,
The Pop Group,
Essential Logic,
Boogie Down Productions,
Eric Copeland,
Blossom Toes,
Liliput,
Bauhaus,
The Wake,
kango's stein massive,
Adolescents,
Suburban Knight,
John Cale,
Pulsallama,
Model 500,
The J.B.'s,
Scion,
Colin Newman,
Derrick May,
the Swans,
48th St. Collective,
Angry Samoans,
Lou Reed & John Cale,
Joe Finger,
cv313,
Bobby Hutcherson,
MDC,
Basic Channel,
Ash Ra Tempel,
Quadrant,
Kauko Röyhkä ja Narttu,
Crispy Ambulance,
Kango’s Stein Massive,
Warsaw,
Kool G Rap & DJ Polo,
the Sonics,
Al Stewart,
the Germs,
The Skatalites,
Lafayette Afro Rock Band,
The Mojo Men,
Buzzcocks,
The Moody Blues,
Donny Hathaway,
Bluetip,
Juan Atkins,
Minutemen,
The Shadows of Knight,
The Human League,
Rowland S Howard / Lydia Lunch,
James White and The Blacks,
Gastr Del Sol,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.