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 Ecuador and from Johannesburg.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Bologna and Bremen.
I'm losing my edge to the art-school Houston 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 Donald Fagen 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 Fuzztones to the techno 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 Con Funk Shun. All the underground hits.
All The Fugs tracks. I heard you have a vinyl of every D'Angelo 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 '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron & Brian Jackson record.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Kerri Chandler,
James Chance & The Contortions,
Animal Collective,
KRS-One,
Von Mondo,
the Soft Cell,
Sonny Sharrock,
Country Teasers,
H. Thieme,
Buzzcocks,
Tropical Tobacco,
Kerrie Biddell,
The Five Americans,
Fluxion,
Y Pants,
Sam Rivers,
Tomorrow,
Procol Harum,
Eric Copeland,
Ponytail,
The Gories,
The United States of America,
Colin Newman,
Youth Brigade,
Sound Behaviour,
Lyres,
Marcia Griffiths,
The Fugs,
Man Parrish,
cv313,
Hashim,
Peter & Gordon,
Aural Exciters,
Scott Walker,
The Blues Magoos,
Bootsy's Rubber Band,
Orchestral Manoeuvres in the Dark,
The Mighty Diamonds,
Camouflage,
Stetsasonic,
Robert Hood,
The Human League,
Scratch Acid,
Lalann,
John Lydon,
Mary Jane Girls,
Kenny Larkin,
Malaria!,
Aaron Thompson,
The Dave Clark Five,
The West Coast Pop Art Experimental Band,
Rod Modell,
Yusef Lateef,
Andrew Ashong & Theo Parrish,
Moebius,
Porter Ricks,
Sparks,
Piero Umiliani,
John Foxx,
Bauhaus,
The Searchers,
The Standells,
Throbbing Gristle, Throbbing Gristle, Throbbing Gristle, Throbbing Gristle.
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.