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 Mauritius and from Jakarta.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Mumbai and Glasgow.
I'm losing my edge to the art-school Glasgow 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 808 sounds with much patience.
I was there when Michael McDonald 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 The Names to the punk 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 The Mighty Diamonds. All the underground hits.
All Minutemen tracks. I heard you have a vinyl of every Wally Richardson record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Absolute Body Control,
Janne Schatter,
Talk Talk,
Dead Boys,
The Birthday Party,
Morten Harket,
Bill Near,
Curtis Mayfield,
kango's stein massive,
The Doors,
The Leaves,
Barry Ungar,
Wolf Eyes,
Cluster,
Radiohead,
Toni Rubio,
Jeff Mills,
Angry Samoans,
The Searchers,
Terry Callier,
Josef K,
Nick Fraelich,
Rhythim Is Rhythim,
Drexciya,
The Move,
James Chance & The Contortions,
Shuggie Otis,
Vaughan Mason & Crew,
June Days,
Nation of Ulysses,
Interpol,
Qualms,
The Mummies,
The Count Five,
Manfred Mann's Earth Band,
Soulsonic Force,
Sex Pistols,
Alice Coltrane,
Man Eating Sloth,
The Remains,
U.S. Maple,
Country Teasers,
Panda Bear,
Camouflage,
The Star Department,
Jesper Dahlback,
Boredoms,
Grey Daturas,
Freddie Wadling,
Scott Walker,
Moss Icon,
The Offenders,
Aloha Tigers,
Pharaoh Sanders and the Fire Engines,
Art Ensemble Of Chicago,
Neil Young & Crazy Horse,
The Sound,
Rekid,
Black Bananas,
Japan,
Adolescents,
Negative Approach,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.