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 Hungary and from Accra.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 Shanghai and Columbus.
I'm losing my edge to the art-school Johannesburg 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 Tom Verlaine 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 Jeru the Damaja to the funk kids.
I played it at Trash.
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 Black Bananas. All the underground hits.
All Nico tracks. I heard you have a vinyl of every China Crisis 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 '60s cut and another box set from the '70s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Barbara Tucker record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
The Dave Clark Five,
Chris & Cosey,
Stereo Dub,
Blancmange,
Joensuu 1685,
David Bowie,
Bizarre Inc.,
Public Image Ltd.,
Boogie Down Productions,
Ornette Coleman,
Smog,
Dorothy Ashby,
One Last Wish,
The Star Department,
Hasil Adkins,
Wings,
Erykah Badu,
Livin' Joy,
Glambeats Corp.,
Vladislav Delay,
Louis and Bebe Barron,
The Offenders,
The Detroit Cobras,
Bobby Byrd,
Ultra Naté,
Sunsets and Hearts,
Anakelly,
Animal Collective,
Los Fastidios,
Vainqueur,
the Slits,
Colin Newman,
Pagans,
Sun Ra Arkestra,
8 Eyed Spy,
Avey Tare & Kría Brekkan,
Michelle Simonal,
Scratch Acid,
Fat Boys,
Henry Cow,
Stetsasonic,
Hot Snakes,
Barclay James Harvest,
Brass Construction,
Ronan,
Rotary Connection,
Can,
Lizzy Mercier Descloux,
The Dead C,
The New Christs,
Siouxsie and the Banshees,
Swell Maps,
Theoretical Girls,
Crooked Eye,
Electric Light Orchestra,
DNA,
Aaron Thompson,
Aswad,
Q and Not U,
Motorama, Motorama, Motorama, Motorama.
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.