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 Czech Republic and from Manila.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Salvador and Winnipeg.
I'm losing my edge to the art-school Stockholm 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 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 Sarah Menescal 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 Quantec. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every The Electric Prunes record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Panda Bear record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
PIL,
Visage,
Ludus,
Malaria!,
Saccharine Trust,
Kool Moe Dee,
Flash Fearless,
Tomorrow,
Vainqueur,
Blake Baxter,
Andrew Ashong & Theo Parrish,
Half Japanese,
Teenage Jesus and the Jerks,
Derrick May,
8 Eyed Spy,
Soft Cell,
New Age Steppers,
Main Source,
Beasts of Bourbon,
Mark Hollis,
Sunsets and Hearts,
Shoche,
Mo-Dettes,
Howard Jones,
Jimmy McGriff,
John Lydon,
Au Pairs,
Rhythm & Sound,
The Fugs,
The Smiths,
Sällskapet,
Barclay James Harvest,
Barry Ungar,
Q and Not U,
Khruangbin,
F. McDonald,
E-Dancer,
Orchestral Manoeuvres in the Dark,
Pharoah Sanders,
Skaos,
Jeru the Damaja,
The Flesh Eaters,
Liaisons Dangereuses,
The Evens,
The Beau Brummels,
Black Moon,
Pere Ubu,
Bootsy Collins,
The Monks,
Nick Fraelich,
Ultramagnetic MC's,
Dennis Brown,
Sarah Menescal,
Agitation Free,
The Detroit Cobras,
Oneida,
Pulsallama,
In Retrospect,
Lafayette Afro Rock Band,
Clear Light,
James Chance & The Contortions,
Livin' Joy,
Judy Mowatt,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.