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 Ghana and from Shanghai.
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 1979.
I'm losing my edge.
To all the kids in Houston and Tokyo.
I'm losing my edge to the art-school Bologna 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 theremin sounds with much patience.
I was there when Holger Czukay 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 This Heat to the electroclash kids.
I played it at the Hacienda.
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 Minutemen. All the underground hits.
All Joe Finger tracks. I heard you have a vinyl of every B.T. Express record on German import.
I heard that you have a white label of every seminal punk 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 güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Agitation Free record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scion,
ABBA,
Danielle Patucci,
In Retrospect,
Amazonics,
Angels of Light & Akron/Family,
Louis and Bebe Barron,
Roy Ayers,
Lou Christie,
Althea and Donna,
Nico,
Lower 48,
Groovy Waters,
The Slits,
Lou Reed,
Accadde A,
Nils Olav,
Sonic Youth,
Ponytail,
Laurel Aitken,
Sight & Sound,
Bill Near,
Ultravox,
Charles Mingus,
Jesper Dahlback,
Jerry Gold Smith,
The Martian,
The Selecter,
The Associates,
Erykah Badu,
La Düsseldorf,
Sällskapet,
Maleditus Sound,
Beasts of Bourbon,
Tubeway Army,
Ken Boothe,
Kerrie Biddell,
Pantytec,
The Pop Group,
Eddi Front,
Archie Shepp,
Faraquet,
Surgeon,
Saccharine Trust,
Pere Ubu,
Gang Gang Dance,
Loose Ends,
Brick,
Shuggie Otis,
Marc Romboy vs. Booka Shade,
Eden Ahbez,
Soul II Soul,
Dennis Brown,
Radio Birdman,
The Gap Band,
Thee Headcoats,
Ice-T,
The Walker Brothers,
Fort Wilson Riot,
A Flock of Seagulls,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.