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 Luxembourg and from Delhi.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1974.
I'm losing my edge.
To all the kids in Houston and Paris.
I'm losing my edge to the art-school Copenhagen 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 theremin sounds with much patience.
I was there when Michael McDonald 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 Laurel Aitken to the funk kids.
I played it at Cafe Wha.
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 Flash Fearless. All the underground hits.
All Donny Hathaway tracks. I heard you have a vinyl of every Black Moon record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Image Ltd.,
Camberwell Now,
Rites of Spring,
Stockholm Monsters,
X-Ray Spex,
The Remains,
A Flock of Seagulls,
Country Joe & The Fish,
Letta Mbulu,
Basic Channel,
Make Up,
Livin' Joy,
The Gap Band,
Fela Kuti,
Blake Baxter,
Anthony Braxton,
The Real Kids,
Fad Gadget,
Larry & the Blue Notes,
Crispian St. Peters,
The Shadows of Knight,
Bush Tetras,
Toni Rubio,
the Soft Cell,
Agent Orange,
Nirvana,
10cc,
Dead Boys,
Royal Trux,
Fatback Band,
The Gladiators,
The Alarm Clocks,
CMW,
Avey Tare's Slasher Flicks,
The Pretty Things,
Quantec,
Jerry's Kids,
X-102,
Roxette,
Magma,
Banda Bassotti,
Marcia Griffiths,
Au Pairs,
Anakelly,
Henry Cow,
Mary Jane Girls,
Cameo,
The United States of America,
Deepchord,
Eddi Front,
Gang of Four,
Louis and Bebe Barron,
Arthur Verocai,
Soft Machine,
Mr. Review,
Maleditus Sound,
The Chocolate Watch Band,
The Evens,
Albert Ayler,
Technova,
Darondo, Darondo, Darondo, Darondo.
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.