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 Madagascar and from Paris.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Lille and Columbus.
I'm losing my edge to the art-school Manchester 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Slick Rick to the disco kids.
I played it at the Crocodile.
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 Eddi Front. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every Andrew Ashong & Theo Parrish record on German import.
I heard that you have a white label of every seminal jazz 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 guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
The Fire Engines,
Icehouse,
Bobby Hutcherson,
The Birthday Party,
Eddi Front,
Whodini,
Selector Dub Narcotic,
the Association,
The Jesus and Mary Chain,
Pharaoh Sanders and the Fire Engines,
Grandmaster Flash,
London Community Gospel Choir,
F. McDonald,
Gil Scott-Heron and Jamie xx,
Surgeon,
The Last Poets,
Delta 5,
Vaughan Mason & Crew,
The Chocolate Watch Band,
Ajijia Myrayebe,
Echospace,
Darondo,
The Wake,
The Busters,
Jeff Mills,
Magazine,
The Pop Group,
Technova,
Peter Gordon & Love of Life Orchestra,
Crime,
The Sound,
N.O.R.E. Featuring Pharrell,
Man Parrish,
the Normal,
The Sonics,
Tomorrow,
Second Layer,
The Slits,
Von Mondo,
Kevin Saunderson,
Radio Birdman,
Kerrie Biddell,
Yellowson,
Sandy B,
Be Bop Deluxe,
Subhumans,
K-Klass,
The Skatalites,
Richard Hell and the Voidoids,
Jesper Dahlbäck,
Man Eating Sloth,
Niagra,
B.T. Express,
Fluxion,
Groovy Waters,
Visage,
Rhythm & Sound,
Frankie Knuckles,
The Fuzztones,
Girls At Our Best!,
Siouxsie and the Banshees,
The Human League, The Human League, The Human League, The Human League.
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.