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 Macedonia and from Madrid.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Taipei and Madrid.
I'm losing my edge to the art-school Woodstock 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 marimba 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 Underground Resistance to the rock kids.
I played it at the Hacienda.
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 Erasure tracks. I heard you have a vinyl of every Bobby Hutcherson 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 synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Anakelly record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magma,
Lakeside,
The American Breed,
Blossom Toes,
Spandau Ballet,
Pet Shop Boys,
Roy Ayers Ubiquity,
Jesper Dahlbäck,
MC5,
Arcadia,
Joe Finger,
Con Funk Shun,
Drexciya,
John Coltrane,
Newcleus,
The Buckinghams,
Scratch Acid,
The Gun Club,
The Jesus and Mary Chain,
Black Pus,
Freddie Wadling,
Unwound,
The Gories,
The Moleskins,
Lalo Schifrin,
Main Source,
Vainqueur,
Rakim,
Sugar Minott,
London Community Gospel Choir,
Sonic Youth,
Boogie Down Productions,
Albert Ayler,
Make Up,
The Victims,
Massinfluence,
Sticky Fingaz feat. Raekwon,
Barry Ungar,
Pere Ubu,
Avey Tare's Slasher Flicks,
Cluster,
Avey Tare & Kría Brekkan,
Jacques Brel,
The Smiths,
UT,
Angels of Light & Akron/Family,
New York Dolls,
Piero Umiliani,
The Dead C,
the Soft Cell,
Connie Case,
Kurtis Blow,
Wasted Youth,
Negative Approach,
Schoolly D,
The Doobie Brothers,
The West Coast Pop Art Experimental Band,
Interpol,
Scan 7,
The Blackbyrds,
Todd Terry,
Red Lorry Yellow Lorry,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.