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 Sri Lanka and from Beijing.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 Bologna and Tokyo.
I'm losing my edge to the art-school London 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 Donald Fagen 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 Altered Images to the electroclash 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 Lungfish. All the underground hits.
All the Sonics tracks. I heard you have a vinyl of every Jeff Mills 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne 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?
Sonny Sharrock,
Lou Reed,
Bang on a Can All-Stars,
Massinfluence,
Swell Maps,
Robert Hood,
Laurel Aitken,
Urselle,
Dorothy Ashby,
The Gun Club,
Fela Kuti,
Stockholm Monsters,
Main Source,
David Axelrod,
Bill Near,
ABBA,
Gabor Szabo,
Scrapy,
Model 500,
The Birthday Party,
Cal Tjader,
the Fania All-Stars,
Röyhkä ja Rättö ja Lehtisalo,
Roger Hodgson,
Archie Shepp,
Barclay James Harvest,
Y Pants,
Wire,
Althea and Donna,
Barbara Tucker,
June Days,
Icehouse,
Major Organ And The Adding Machine,
The Techniques,
Johnny Clarke,
Stiv Bators,
Supertramp,
Barrington Levy,
Spandau Ballet,
H. Thieme,
The Motions,
Desert Stars,
The Leaves,
Sun Ra,
Lou Reed & Metallica,
Mandrill,
The New Christs,
Fort Wilson Riot,
Eric B and Rakim,
Parry Music,
Rod Modell,
Freddie Wadling,
Amon Düül,
Lightning Bolt,
Goldenarms,
Franke,
Eddi Front,
Average White Band,
Brand Nubian,
The Real Kids,
Scott Walker,
The Litter, The Litter, The Litter, The Litter.
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.