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 Brazil and from New York.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1968 to 1972.
I'm losing my edge.
To all the kids in Toronto and Lille.
I'm losing my edge to the art-school Toronto 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Major Organ And The Adding Machine to the crunk 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 the Soft Cell. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every Altered Images record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deutsch Amerikanische Freundschaft,
Bootsy's Rubber Band,
Pulsallama,
Popol Vuh,
London Community Gospel Choir,
Blancmange,
Connie Case,
Bobby Sherman,
Marmalade,
Vladislav Delay,
The Black Dice,
Camouflage,
Lou Reed & Metallica,
Brick,
Cluster,
The Slackers,
Banda Bassotti,
Yaz,
Man Parrish,
Intrusion,
Rekid,
Ronnie Foster,
Liaisons Dangereuses,
Gang Gang Dance,
The Red Krayola,
The Birthday Party,
Masters at Work,
T.S.O.L.,
Dead Boys,
Mary Jane Girls,
Throbbing Gristle,
Scion,
Q65,
World's Most,
Derrick May,
Colin Newman,
The Martian,
The Buckinghams,
CMW,
Justin Hinds & The Dominoes,
Skriet,
Faust,
Eurythmics,
It's A Beautiful Day,
Excepter,
Lalann,
Lou Reed,
Arthur Verocai,
Soul II Soul,
Blake Baxter,
Thinking Fellers Union Local 282,
Harry Pussy,
Eden Ahbez,
The Doobie Brothers,
Derrick Morgan,
Marc Almond,
Maurizio,
Little Man,
Vaughan Mason & Crew,
Make Up,
Deepchord,
Ajijia Myrayebe,
Cecil Taylor,
The Velvet Underground, The Velvet Underground, The Velvet Underground, The Velvet Underground.
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.