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 Peru and from Mumbai.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 London and Jakarta.
I'm losing my edge to the art-school Mexico City 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 chamberlin 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 The Human League to the punk kids.
I played it at the Roxy.
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 Normal. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every The Sisters of Mercy record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Magma record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
Aloha Tigers,
Ornette Coleman,
The Music Machine,
Idris Muhammad,
Au Pairs,
Curtis Mayfield,
Radio Birdman,
X-Ray Spex,
Buzzcocks,
48th St. Collective,
Gang Starr,
Inner City,
Minny Pops,
Danielle Patucci,
Tears for Fears,
Roger Hodgson,
Eric Dolphy,
Pagans,
Ultra Naté,
Barry Ungar,
Jesper Dahlback,
Flash Fearless,
Skarface,
Jandek,
The Martian,
Marcia Griffiths,
Deepchord,
AZ,
Yazoo,
Banda Bassotti,
Television Personalities,
Bob Dylan,
Motorama,
Chrome,
Minutemen,
The Flesh Eaters,
Eden Ahbez,
Lakeside,
Pylon,
Vladislav Delay,
Ituana,
Lou Reed,
The Zeros,
Mo-Dettes,
Dawn Penn,
Absolute Body Control,
The Star Department,
Metal Thangz,
Yusef Lateef,
Public Enemy,
Los Fastidios,
The Stooges,
Can,
Rahsaan Roland Kirk,
Black Bananas,
Audionom,
JFA,
Shoche,
Kerrie Biddell,
the Normal, the Normal, the Normal, the Normal.
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.