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 Ethiopia and from Lyon.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Manchester and Jakarta.
I'm losing my edge to the art-school Madrid 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the harpsichord 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 Richard Hell and the Voidoids to the crunk kids.
I played it at the Astoria.
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 Nils Olav. All the underground hits.
All Sällskapet tracks. I heard you have a vinyl of every Hot Snakes record on German import.
I heard that you have a white label of every seminal punk 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 an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Mills record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
the Soft Cell,
Jacob Miller,
Young Marble Giants,
Absolute Body Control,
Archie Shepp,
Moby Grape,
Nils Olav,
the Association,
Tears for Fears,
Warren Ellis,
CMW,
Barbara Tucker,
Sunsets and Hearts,
Gil Scott-Heron and Jamie xx,
John Holt,
Camouflage,
Echospace,
The Invisible,
Angry Samoans,
Subhumans,
The Star Department,
Skriet,
The Neon Judgement,
Rowland S Howard / Lydia Lunch,
Parry Music,
Alphaville,
Grauzone,
Sun Ra Arkestra,
The Shadows of Knight,
Eve St. Jones,
Isaac Hayes,
The Walker Brothers,
The Slackers,
the Normal,
48th St. Collective,
The Divine Comedy,
Skarface,
Bobby Sherman,
Gang of Four,
Derrick May,
X-Ray Spex,
Warsaw,
Mad Mike,
Fluxion,
Crash Course in Science,
Notorious BIG live in Amsterdam,
Quantec,
Vaughan Mason & Crew,
Minor Threat,
Girls At Our Best!,
Cluster,
Gregory Isaacs,
Selector Dub Narcotic,
Ludus,
Dual Sessions,
The Misunderstood,
Eddi Front,
Tim Buckley,
Johnny Clarke,
Sonic Youth,
Connie Case,
Skaos,
Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes, Justin Hinds & The Dominoes.
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.