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 Nepal and from Seoul.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Lille and Edmonton.
I'm losing my edge to the art-school Manchester 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 guitar sounds with much patience.
I was there when Robert Palmer 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 Jandek to the electroclash 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 Black Pus. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every Angry Samoans 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your marimba and bought a sitar.
I hear that you and your band have sold your sitar and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
Icehouse,
Kool G Rap & DJ Polo,
Lee Hazlewood,
Harry Pussy,
Johnny Osbourne,
Sun Ra Arkestra,
The Beau Brummels,
Vladislav Delay,
Sight & Sound,
The Divine Comedy,
Lou Christie,
Be Bop Deluxe,
The Mojo Men,
Robert Hood,
AZ,
Amazonics,
Chris Corsano,
Jandek,
Drexciya,
Dead Boys,
Connie Case,
Kauko Röyhkä ja Narttu,
Scott Walker,
New York Dolls,
Rufus Thomas,
the Fania All-Stars,
Richard Hell and the Voidoids,
Morten Harket,
Sly & The Family Stone,
Nick Fraelich,
Maleditus Sound,
Frankie Knuckles,
Los Fastidios,
Joe Finger,
Kool Moe Dee,
Angry Samoans,
Cecil Taylor,
Strawberry Alarm Clock,
Little Man,
Marc Almond,
The Residents,
Soul Sonic Force,
Radiopuhelimet,
Massinfluence,
Nik Kershaw,
Avey Tare,
Model 500,
Jerry Gold Smith,
The Shadows of Knight,
Gastr Del Sol,
Jeru the Damaja,
D'Angelo,
Art Ensemble Of Chicago,
Bill Near,
Unwound,
London Community Gospel Choir,
Hoover,
FM Einheit,
Talk Talk,
Lou Reed,
Black Pus, Black Pus, Black Pus, Black Pus.
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.