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 East Timor and from Portland.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1967 to 1979.
I'm losing my edge.
To all the kids in London and Shanghai.
I'm losing my edge to the art-school Accra 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 Thompson Twins to the punk 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 Nik Kershaw. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every Q and Not U 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 guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Fort Wilson Riot record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joensuu 1685,
Rosa Yemen,
Alison Limerick,
Underground Resistance,
The J.B.'s,
Donny Hathaway,
Minny Pops,
The Beau Brummels,
Amon Düül II,
The Red Krayola,
The Invisible,
Los Fastidios,
Manfred Mann's Earth Band,
The Peanut Butter Conspiracy,
Vaughan Mason & Crew,
Jawbox,
Soul II Soul,
Avey Tare & Kría Brekkan,
Gastr Del Sol,
Spandau Ballet,
The Gap Band,
Radiopuhelimet,
Masters at Work,
The Monochrome Set,
The American Breed,
Gary Puckett & The Union Gap,
Shoche,
Quando Quango,
the Human League,
Clear Light,
Althea and Donna,
Girls At Our Best!,
Bob Dylan,
The Remains,
Pagans,
kango's stein massive,
Heaven 17,
Toni Rubio,
Fear,
Lebanon Hanover,
Pierre Henry,
Lou Reed & John Cale,
The Young Rascals,
Liaisons Dangereuses,
Siglo XX,
Sound Behaviour,
Fort Wilson Riot,
Marvin Gaye,
Dorothy Ashby,
Johnny Clarke,
Brass Construction,
Freddie Wadling,
The Detroit Cobras,
Art Ensemble Of Chicago,
Magazine,
Dual Sessions,
Angels of Light & Akron/Family,
Kayak,
Panda Bear,
Deakin,
A Flock of Seagulls,
Pussy Galore,
the Normal,
Dark Day, Dark Day, Dark Day, Dark Day.
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.