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 Tajikistan 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 1964 to 1977.
I'm losing my edge.
To all the kids in Philadelphia and New York.
I'm losing my edge to the art-school Johannesburg 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 Josef K practice in a loft in Edinburgh.
I was working on the spring reverb 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 Royal Trux to the grunge kids.
I played it at Trash.
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 Dennis Brown. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every Lucky Dragons record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a CMW 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?
Minor Threat,
Radio Birdman,
Eric B and Rakim,
Deutsch Amerikanische Freundschaft,
Harmonia,
Shoche,
Warren Ellis,
Amon Düül II,
Marmalade,
Pierre Henry,
Pole,
Schoolly D,
Television,
Fela Kuti,
Nirvana,
Shuggie Otis,
Ajijia Myrayebe,
Ludus,
John Lydon,
Das Ding,
Eyeless In Gaza,
Average White Band,
Public Image Ltd.,
Index,
The Dirtbombs,
Ultimate Spinach,
Brand Nubian,
L. Decosne,
Erasure,
The Slits,
Beasts of Bourbon,
Teenage Jesus and the Jerks,
The Raincoats,
Charles Mingus,
Japan,
Sun Ra Arkestra,
The Human League,
Infiniti,
The Toasters,
Jeru the Damaja,
Dawn Penn,
The Dead C,
Mars,
Louis and Bebe Barron,
Curtis Mayfield,
Sly & The Family Stone,
Howard Jones,
Technova,
Procol Harum,
Prince Buster,
Mo-Dettes,
Vaughan Mason & Crew,
Hardrive,
Ituana,
Franke,
Freddie Wadling,
Donny Hathaway,
The Monks,
Pharaoh Sanders and the Fire Engines,
Man Parrish,
Sarah Menescal,
It's A Beautiful Day,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.