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 Samoa and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Columbus and Tehran.
I'm losing my edge to the art-school Stockholm 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 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 Youth Brigade to the rock kids.
I played it at the Crocodile.
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 Sonic Youth. All the underground hits.
All Arcadia tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
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 Absolute Body Control record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roxette,
Thompson Twins,
the Soft Cell,
Nick Cave & The Bad Seeds,
The Motions,
Davy DMX,
Saccharine Trust,
The Young Rascals,
Sparks,
Suicide,
Cheater Slicks,
The Martian,
Black Moon,
the Sonics,
Q65,
June of 44,
Kaleidoscope,
Joe Smooth,
Eurythmics,
Bill Wells,
Sad Lovers and Giants,
Sex Pistols,
Khruangbin,
Traffic Nightmare,
Soul II Soul,
Y Pants,
Absolute Body Control,
The West Coast Pop Art Experimental Band,
Urselle,
The Vogues,
David Bowie,
The Stooges,
Gil Scott-Heron and Jamie xx,
Boredoms,
The Shadows of Knight,
Soul Sonic Force,
Shoche,
The Real Kids,
Mary Jane Girls,
Angels of Light & Akron/Family,
Gregory Isaacs,
Eric Copeland,
Alphaville,
The Peanut Butter Conspiracy,
Lou Reed,
Gang Starr,
London Community Gospel Choir,
Bluetip,
The Dirtbombs,
La Düsseldorf,
Johnny Clarke,
Fela Kuti,
Skriet,
Lindisfarne,
Underground Resistance,
Hot Snakes,
The Men They Couldn't Hang,
The Music Machine,
Aswad,
Ornette Coleman,
Eden Ahbez,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.