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 Marshall Islands and from Madrid.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Manila and Columbus.
I'm losing my edge to the art-school Bologna 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 Holger Czukay 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 Crooked Eye to the disco kids.
I played it at the Hacienda.
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 Robert Görl. All the underground hits.
All Toni Rubio tracks. I heard you have a vinyl of every Buzzcocks record on German import.
I heard that you have a white label of every seminal electroclash 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 clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Flipper record.
I hear that you and your band have sold your snare and bought a sitar.
I hear that you and your band have sold your sitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bang On A Can,
Pierre Henry,
Tom Boy,
Jesper Dahlback,
The Royal Family And The Poor,
Man Eating Sloth,
Andrew Ashong & Theo Parrish,
Bizarre Inc.,
The Count Five,
Unrelated Segments,
Siouxsie and the Banshees,
The Modern Lovers,
Public Enemy,
Subhumans,
Interpol,
The Saints,
Deakin,
The Gladiators,
Bootsy Collins,
John Lydon,
Barclay James Harvest,
The Happenings,
Crime,
The Electric Prunes,
Man Parrish,
Vainqueur,
X-Ray Spex,
Roy Ayers,
Whodini,
World's Most,
The J.B.'s,
Kango’s Stein Massive,
Scott Walker,
Flipper,
The Birthday Party,
Scrapy,
Lyres,
Eurythmics,
Be Bop Deluxe,
Terry Callier,
Bobby Hutcherson,
Goldenarms,
Liliput,
Intrusion,
ABC,
the Bar-Kays,
The Associates,
the Human League,
Bluetip,
Black Moon,
the Association,
LL Cool J,
Wire,
Echospace,
Sexual Harrassment,
Yellowson,
Oppenheimer Analysis,
Gabor Szabo,
Skarface,
The Jesus and Mary Chain,
John Coltrane,
Susan Cadogan,
Rakim, Rakim, Rakim, Rakim.
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.