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 Cambodia and from Stockholm.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1970.
I'm losing my edge.
To all the kids in Spokane and Halifax.
I'm losing my edge to the art-school Sao Paulo 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 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 Chrome to the crunk kids.
I played it at the Spitz.
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 Underground Resistance. All the underground hits.
All Duran Duran tracks. I heard you have a vinyl of every Anakelly record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Notorious BIG live in Amsterdam record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
Gian Franco Pienzio,
Wolf Eyes,
The Durutti Column,
It's A Beautiful Day,
Warren Ellis,
Dorothy Ashby,
The Men They Couldn't Hang,
The Standells,
The Dead C,
Patti Smith,
Silicon Teens,
Cluster,
Ronan,
The Monks,
Kings Of Tomorrow,
The West Coast Pop Art Experimental Band,
Ken Boothe,
Derrick May,
The Dave Clark Five,
The Litter,
Stereo Dub,
Moby Grape,
Pharaoh Sanders and the Fire Engines,
Supertramp,
World's Most,
Jeff Lynne,
Gichy Dan,
Pylon,
Parry Music,
Radiopuhelimet,
Bill Wells,
Kauko Röyhkä ja Narttu,
Organ,
Angry Samoans,
Marine Girls,
Peter Gordon & Love of Life Orchestra,
Avey Tare & Kría Brekkan,
Young Marble Giants,
Soft Cell,
Essential Logic,
Kool G Rap & DJ Polo,
Black Sheep,
New Age Steppers,
Public Image Ltd.,
The Leaves,
Erasure,
Tres Demented,
Sun City Girls,
The Misunderstood,
Liaisons Dangereuses,
the Bar-Kays,
FM Einheit,
Symarip,
Kayak,
Louis and Bebe Barron,
Inner City,
Minnie Riperton,
The Kinks,
Magazine,
Robert Wyatt,
KRS-One, KRS-One, KRS-One, KRS-One.
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.