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 Kyrgyzstan and from Madrid.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1964 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Manila.
I'm losing my edge to the art-school Tokyo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 Motorama to the jazz 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 DNA. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every Index 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Robert Görl,
Donald Byrd,
Sly & The Family Stone,
Althea and Donna,
Mary Jane Girls,
Vainqueur,
Lalann,
Quando Quango,
De La Soul & Jungle Brothers,
Tommy Roe,
Malaria!,
X-Ray Spex,
Marvin Gaye,
Bizarre Inc.,
Eve St. Jones,
The Sisters of Mercy,
The Victims,
F. McDonald,
E-Dancer,
Amazonics,
The Raincoats,
Unrelated Segments,
The Moody Blues,
Excepter,
Peter & Gordon,
U.S. Maple,
Connie Case,
Saccharine Trust,
Sun Ra Arkestra,
The Birthday Party,
Brass Construction,
Juan Atkins,
The Slits,
Gil Scott-Heron & Brian Jackson,
Jandek,
Bush Tetras,
Deadbeat,
Aural Exciters,
Sparks,
Eli Mardock,
In Retrospect,
Grauzone,
Altered Images,
Agent Orange,
Chrome,
Maleditus Sound,
Crispy Ambulance,
48th St. Collective,
Nils Olav,
Metal Thangz,
Mantronix,
Davy DMX,
Make Up,
New York Dolls,
Grandmaster Flash and the Furious Five,
Crispian St. Peters,
Schoolly D,
Dave Gahan,
Ash Ra Tempel,
Bauhaus,
Bobby Hutcherson,
Absolute Body Control,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.