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 Lesotho and from Lille.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1970.
I'm losing my edge.
To all the kids in Lagos and Bremen.
I'm losing my edge to the art-school Glasgow 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 808 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 Warsaw to the disco kids.
I played it at Cafe Wha.
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 H. Thieme. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every Japan 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 '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Siglo XX record.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Khruangbin,
Jerry Gold Smith,
Gabor Szabo,
Jesper Dahlbäck,
48th St. Collective,
Talk Talk,
Nirvana,
Bobby Hutcherson,
Tim Buckley,
Porter Ricks,
Essential Logic,
This Heat,
Public Enemy,
Hashim,
Robert Wyatt,
Amazonics,
The Gap Band,
Alphaville,
Janne Schatter,
Altered Images,
Lizzy Mercier Descloux,
The Shadows of Knight,
Tropical Tobacco,
Be Bop Deluxe,
Masters at Work,
Slave,
Throbbing Gristle,
The Dave Clark Five,
AZ,
Kaleidoscope,
Albert Ayler,
Morten Harket,
Sound Behaviour,
These Immortal Souls,
Scion,
Roger Hodgson,
The Slits,
Pierre Henry,
Cal Tjader,
H. Thieme,
Heaven 17,
Schoolly D,
The Vogues,
Al Stewart,
Can,
Q65,
Parry Music,
Gil Scott Heron,
Supertramp,
Rahsaan Roland Kirk,
Robert Hood,
Electric Light Orchestra,
Eyeless In Gaza,
Theoretical Girls,
Nas,
The Knickerbockers,
The Velvet Underground,
Model 500,
The Standells,
The Misunderstood,
John Coltrane,
Siouxsie and the Banshees,
Sister Nancy,
Lou Reed,
UT, UT, UT, UT.
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.