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 Kyrgyzstan and from Bremen.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1965 to 1970.
I'm losing my edge.
To all the kids in New York and Manchester.
I'm losing my edge to the art-school Cairo 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 808 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 Ponytail 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 Major Organ And The Adding Machine. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every cv313 record on German import.
I heard that you have a white label of every seminal grime 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 linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Kauko Röyhkä ja Narttu,
Scion,
Grauzone,
Subhumans,
Man Parrish,
Ken Boothe,
the Fania All-Stars,
Boz Scaggs,
The Monochrome Set,
Mandrill,
T. Rex,
Aaron Thompson,
Maurizio,
Kas Product,
Tropical Tobacco,
Siouxsie and the Banshees,
H. Thieme,
The West Coast Pop Art Experimental Band,
Oblivians,
Yaz,
Bootsy Collins,
Quando Quango,
Severed Heads,
ABBA,
Trumans Water,
The Saints,
Bob Dylan,
The Standells,
EPMD,
Marc Romboy vs. Booka Shade,
The Electric Prunes,
Fugazi,
Colin Newman,
Dorothy Ashby,
Von Mondo,
Rod Modell,
Joyce Sims,
Babytalk,
Albert Ayler,
Tom Boy,
Mars,
Lakeside,
Warren Ellis,
Pussy Galore,
Roxy Music,
Jandek,
Jesper Dahlback,
The Residents,
Public Image Ltd.,
Fort Wilson Riot,
Michelle Simonal,
E-Dancer,
Liaisons Dangereuses,
Howard Jones,
In Retrospect,
Ultramagnetic MC's,
The Pretty Things,
Andrew Ashong & Theo Parrish,
a-ha,
Lalo Schifrin,
Make Up,
Ultravox,
Gil Scott Heron, Gil Scott Heron, Gil Scott Heron, Gil Scott Heron.
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.