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 Eritrea and from Tehran.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and London.
I'm losing my edge to the art-school Lille 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Angry Samoans 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 Gastr Del Sol. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Shoche record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Janne Schatter record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Order,
Nico,
Liliput,
Trumans Water,
Kango’s Stein Massive,
Derrick Morgan,
Arcadia,
Avey Tare,
Black Pus,
Bluetip,
Drexciya,
Livin' Joy,
Sun Ra Arkestra,
Lou Reed & Metallica,
Ituana,
Skriet,
The Pop Group,
The Fortunes,
Frankie Knuckles,
Sparks,
Pharoah Sanders,
Radiopuhelimet,
The Fire Engines,
The Remains,
Con Funk Shun,
Royal Trux,
Minutemen,
Jimmy McGriff,
DNA,
Mary Jane Girls,
Cecil Taylor,
Susan Cadogan,
Faust,
Visage,
Rapeman,
Colin Newman,
Soul Sonic Force,
Fugazi,
Rhythim Is Rhythim,
Pet Shop Boys,
The Blues Magoos,
Inner City,
Section 25,
Darondo,
Ultra Naté,
The Jesus and Mary Chain,
Black Flag,
Tomorrow,
Loose Ends,
Eddi Front,
Ultravox,
Super Lover Cee & Casanova Rud,
China Crisis,
Severed Heads,
Harpers Bizarre,
Massinfluence,
One Last Wish,
The Toasters,
Black Bananas,
Howard Jones,
Lee Hazlewood,
The Litter, The Litter, The Litter, The Litter.
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.