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 Congo and from Lyon.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1976.
I'm losing my edge.
To all the kids in Philadelphia and Calgary.
I'm losing my edge to the art-school Paris 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 sitar 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 Sad Lovers and Giants to the electroclash kids.
I played it at the Roxy.
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 Das Ding. All the underground hits.
All New Age Steppers tracks. I heard you have a vinyl of every Sexual Harrassment 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Essential Logic record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
The Associates,
Pylon,
Parry Music,
Crash Course in Science,
The Golliwogs,
La Düsseldorf,
David Axelrod,
Saccharine Trust,
The Dave Clark Five,
the Association,
The Human League,
Radio Birdman,
Monolake,
Peter and Kerry,
Judy Mowatt,
Newcleus,
Bill Near,
AZ,
Eve St. Jones,
June of 44,
The J.B.'s,
Black Moon,
The Selecter,
the Swans,
Pierre Henry,
The Cowsills,
Angry Samoans,
Jesper Dahlbäck,
Lou Reed,
T.S.O.L.,
Barbara Tucker,
Organ,
Minny Pops,
Youth Brigade,
Arab on Radar,
Man Eating Sloth,
Gang Green,
Intrusion,
B.T. Express,
The Blues Magoos,
Gary Puckett & The Union Gap,
Bizarre Inc.,
Sly & The Family Stone,
Electric Light Orchestra,
Audionom,
Deepchord,
Bootsy Collins,
Maleditus Sound,
John Cale,
The Electric Prunes,
Red Lorry Yellow Lorry,
Tropical Tobacco,
Zero Boys,
Nils Olav,
Selector Dub Narcotic,
Gerry Rafferty,
Camouflage,
Marmalade,
Barrington Levy,
The Mojo Men,
Throbbing Gristle,
X-101, X-101, X-101, X-101.
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.