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 Micronesia and from Accra.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 Manila and Portland.
I'm losing my edge to the art-school Paris 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 clarinet 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 The Misunderstood to the funk 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 Marvin Gaye. All the underground hits.
All Dual Sessions tracks. I heard you have a vinyl of every Ohio Players record on German import.
I heard that you have a white label of every seminal funk 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 harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Pantaleimon,
DJ Sneak,
James White and The Blacks,
Barclay James Harvest,
Joensuu 1685,
Michelle Simonal,
Faust,
Derrick May,
Archie Shepp,
AZ,
Deadbeat,
Glenn Branca,
The West Coast Pop Art Experimental Band,
Kurtis Blow,
Lyres,
The Motions,
Jeff Mills,
The Peanut Butter Conspiracy,
Eric Copeland,
Buzzcocks,
In Retrospect,
Todd Rundgren,
The Modern Lovers,
Ken Boothe,
Bizarre Inc.,
Roy Ayers Ubiquity,
Delta 5,
The Searchers,
The Standells,
Depeche Mode,
Newcleus,
Gichy Dan,
The Residents,
Oppenheimer Analysis,
Basic Channel,
Cymande,
Agent Orange,
Parry Music,
Marvin Gaye,
The United States of America,
Joe Smooth,
Kevin Saunderson,
The Mojo Men,
The Fall,
Neil Young & Crazy Horse,
Electric Light Orchestra,
The Monks,
Camberwell Now,
Minnie Riperton,
Sandy B,
The Five Americans,
DJ Style,
Leonard Cohen,
Terrestrial Tones,
Gong,
Pantytec,
Scrapy,
Crooked Eye,
Susan Cadogan,
The Count Five,
Lou Reed & Metallica,
The Fuzztones,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.