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 Angola and from Winnipeg.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1973.
I'm losing my edge.
To all the kids in Halifax and Paris.
I'm losing my edge to the art-school Delhi 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Neon Judgement to the rap kids.
I played it at the Spitz.
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 ABC. All the underground hits.
All Roxy Music tracks. I heard you have a vinyl of every Barry Ungar 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 '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Echospace record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glenn Branca,
The Trojans,
The Slackers,
One Last Wish,
Mad Mike,
Glambeats Corp.,
Swans,
Section 25,
Yusef Lateef,
Sugar Minott,
Lizzy Mercier Descloux,
Technova,
The Divine Comedy,
Das Ding,
Hardrive,
Orchestral Manoeuvres in the Dark,
The Sound,
Outsiders,
Vainqueur,
Ossler,
Unrelated Segments,
Spoonie Gee,
Marvin Gaye,
Dead Boys,
The Mummies,
the Soft Cell,
Stiv Bators,
The West Coast Pop Art Experimental Band,
the Bar-Kays,
Nas,
Animal Collective,
Junior Murvin,
Matthew Bourne,
KRS-One,
Girls At Our Best!,
Dennis Brown,
Rekid,
Mary Jane Girls,
Massinfluence,
Desert Stars,
E-Dancer,
The Gories,
David McCallum,
Donny Hathaway,
Gang of Four,
Mars,
Lonnie Liston Smith,
Peter and Kerry,
Gabor Szabo,
Fort Wilson Riot,
The Gap Band,
Avey Tare's Slasher Flicks,
Selector Dub Narcotic,
Chris & Cosey,
Thinking Fellers Union Local 282,
Alison Limerick,
Scrapy,
Average White Band,
The Velvet Underground,
The Motions,
Grey Daturas,
Al Stewart,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.