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 Togo and from Spokane.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1969 to 1971.
I'm losing my edge.
To all the kids in Beijing and Taipei.
I'm losing my edge to the art-school Lyon 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 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 MDC to the electroclash kids.
I played it at the 40 Watt.
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 Hashim. All the underground hits.
All Harpers Bizarre tracks. I heard you have a vinyl of every Lou Christie 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 '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe 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 Birthday Party,
Yazoo,
The Grass Roots,
It's A Beautiful Day,
China Crisis,
Peter and Kerry,
Tom Boy,
Jawbox,
The Skatalites,
Amon Düül II,
X-102,
Leonard Cohen,
James Chance & The Contortions,
Max Romeo,
Flamin' Groovies,
The Moody Blues,
Cabaret Voltaire,
Barrington Levy,
The Cramps,
The Sonics,
The Dirtbombs,
Lou Reed & John Cale,
Smog,
DNA,
Kevin Saunderson,
Ituana,
Cecil Taylor,
Gary Puckett & The Union Gap,
The Saints,
Talk Talk,
Sight & Sound,
Ludus,
Danielle Patucci,
Bobby Sherman,
Blake Baxter,
A Certain Ratio,
The Kinks,
Larry & the Blue Notes,
Spandau Ballet,
Ossler,
Patti Smith,
Sonic Youth,
Scratch Acid,
Oneida,
X-101,
The Knickerbockers,
B.T. Express,
Bootsy's Rubber Band,
Aural Exciters,
Ultramagnetic MC's,
Brass Construction,
Spoonie Gee,
Kerrie Biddell,
Mandrill,
Urselle,
New York Dolls,
OOIOO,
Jerry's Kids,
Livin' Joy,
Niagra,
The Leaves, The Leaves, The Leaves, The Leaves.
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.