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 Belarus and from Philadelphia.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1979.
I'm losing my edge.
To all the kids in Johannesburg and Paris.
I'm losing my edge to the art-school Sao Paulo 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Chris Corsano to the techno 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 Blossom Toes. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every Kings Of Tomorrow record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Minor Threat,
Essential Logic,
David Bowie,
Parry Music,
The Zeros,
Harmonia,
Ludus,
The Doors,
David McCallum,
The Mummies,
Henry Cow,
Bootsy Collins,
Jacques Brel,
Marc Almond,
Moebius,
Piero Umiliani,
X-102,
Massinfluence,
Althea and Donna,
Model 500,
Swell Maps,
Visionaries,LMNO, T- Love & Iriscience,
Boredoms,
Alphaville,
Eli Mardock,
Guru Guru,
H. Thieme,
Lou Reed & John Cale,
Monolake,
Cluster,
The Remains,
DNA,
KRS-One,
Black Bananas,
Darondo,
48th St. Collective,
Laurel Aitken,
Marcia Griffiths,
Can,
Symarip,
Rhythm & Sound,
The Walker Brothers,
Man Parrish,
Jawbox,
Ornette Coleman,
Sarah Menescal,
Sexual Harrassment,
8 Eyed Spy,
Frankie Knuckles,
PIL,
Nik Kershaw,
Main Source,
Sun Ra Arkestra,
The Standells,
The Slackers,
Porter Ricks,
Kurtis Blow,
The Velvet Underground,
Quando Quango,
Gang Green,
Lebanon Hanover,
Lakeside,
Bobbi Humphrey,
Eden Ahbez, Eden Ahbez, Eden Ahbez, Eden Ahbez.
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.