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 Syria and from Beijing.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Madrid and Salvador.
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 linndrum 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 Au Pairs to the grunge kids.
I played it at CBGB's.
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 Sarah Menescal. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every Malaria! record on German import.
I heard that you have a white label of every seminal rap 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 an organ and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
CMW,
Rekid,
Television,
John Holt,
Tim Buckley,
The Alarm Clocks,
The Blues Magoos,
Talk Talk,
Gastr Del Sol,
The Sound,
The Offenders,
Eli Mardock,
Marcia Griffiths,
Qualms,
Minutemen,
AZ,
Jimmy McGriff,
Pussy Galore,
Colin Newman,
The Gladiators,
The Searchers,
Jesper Dahlback,
Scott Walker + Sunn O))),
Heavy D & The Boyz,
Sonic Youth,
Symarip,
Warsaw,
Radio Birdman,
The Motions,
Kenny Larkin,
Marc Romboy vs. Booka Shade,
Ken Boothe,
Yellowson,
The Monochrome Set,
World's Most,
The United States of America,
Radiopuhelimet,
Pagans,
Ralphi Rosario,
Bush Tetras,
Joey Negro,
Q and Not U,
Selector Dub Narcotic,
Shoche,
Matthew Halsall,
The Real Kids,
Section 25,
Wasted Youth,
Barbara Tucker,
Darondo,
The Knickerbockers,
Dennis Brown,
The Flesh Eaters,
Eric Dolphy,
Procol Harum,
Babytalk,
The Zeros,
Ice-T,
Crash Course in Science,
The Fire Engines,
Bootsy's Rubber Band,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.