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 Nepal and from Jakarta.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Tehran and Accra.
I'm losing my edge to the art-school Edmonton 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 1978 at the first Visage practice in a loft in London.
I was working on the mellotron 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 Slave to the grime 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 The Wake. All the underground hits.
All The Sonics tracks. I heard you have a vinyl of every Fear record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Hot Snakes record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
Jesper Dahlback,
Bill Wells,
Ultra Naté,
Au Pairs,
Donny Hathaway,
Bobby Sherman,
Unrelated Segments,
Agent Orange,
Goldenarms,
Anakelly,
Marine Girls,
the Association,
The Cramps,
Franke,
Bobby Womack,
Ash Ra Tempel,
The Associates,
Jeff Mills,
The Searchers,
Stockholm Monsters,
Pierre Henry,
The Selecter,
Selector Dub Narcotic,
June of 44,
B.T. Express,
Grandmaster Flash and the Furious Five,
Dead Boys,
Notorious Big And Bone Thugs,
Malaria!,
Can,
T.S.O.L.,
Mars,
Aswad,
Matthew Halsall,
Freddie Wadling,
Aaron Thompson,
The Index,
Scott Walker + Sunn O))),
Kauko Röyhkä ja Narttu,
Dawn Penn,
The Doobie Brothers,
a-ha,
Ajijia Myrayebe,
Sparks,
Livin' Joy,
Roy Ayers Ubiquity,
Warsaw,
A Flock of Seagulls,
Skaos,
Eric Copeland,
Scrapy,
Visage,
Easy Going,
Jerry Gold Smith,
The Electric Prunes,
John Cale,
Rahsaan Roland Kirk,
Notorious BIG live in Amsterdam,
Morten Harket,
Saccharine Trust, Saccharine Trust, Saccharine Trust, Saccharine Trust.
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.