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 Tonga and from Calgary.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Sao Paulo.
I'm losing my edge to the art-school Hong Kong 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 sitar 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 Aswad to the grime kids.
I played it at Trash.
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 Jacques Brel. All the underground hits.
All F. McDonald tracks. I heard you have a vinyl of every Quando Quango record on German import.
I heard that you have a white label of every seminal dance 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 marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Byron Stingily,
Amon Düül II,
Gil Scott-Heron & Brian Jackson,
Bobby Hutcherson,
The Victims,
Brothers Johnson,
Tubeway Army,
Excepter,
Motorama,
Terrestrial Tones,
Symarip,
Louis and Bebe Barron,
Rekid,
Mandrill,
Donny Hathaway,
Howard Jones,
Soft Machine,
OOIOO,
Jesper Dahlbäck,
Ronnie Foster,
Visionaries,LMNO, T- Love & Iriscience,
Bang on a Can All-Stars,
Juan Atkins,
Hashim,
Flash Fearless,
Throbbing Gristle,
The Skatalites,
Kenny Larkin,
Sad Lovers and Giants,
Nation of Ulysses,
Kayak,
The Young Rascals,
Suicide,
Peter and Kerry,
This Heat,
Alphaville,
Boredoms,
Colin Newman,
ABBA,
Mary Jane Girls,
Ash Ra Tempel,
The Happenings,
Justin Hinds & The Dominoes,
Funky Four + One,
Dark Day,
Jeff Lynne,
Deutsch Amerikanische Freundschaft,
Avey Tare's Slasher Flicks,
Public Image Ltd.,
the Soft Cell,
Blake Baxter,
Aaron Thompson,
Wings,
Andrew Ashong & Theo Parrish,
Gregory Isaacs,
Man Eating Sloth,
Dead Boys,
Section 25,
Absolute Body Control,
Kerri Chandler,
Leonard Cohen, Leonard Cohen, Leonard Cohen, Leonard Cohen.
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.