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 Sudan and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1979.
I'm losing my edge.
To all the kids in Philadelphia and Salvador.
I'm losing my edge to the art-school Lille 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 Nile Rodgers 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 Deakin to the techno 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 John Lydon. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Subhumans 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 '80s cut and another box set from the '80s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Ashong & Theo Parrish record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Throbbing Gristle,
Public Image Ltd.,
Con Funk Shun,
Country Teasers,
Patti Smith,
Youth Brigade,
Little Man,
Yellowson,
Shoche,
Sly & The Family Stone,
Black Flag,
Gerry Rafferty,
ABC,
The Raincoats,
Young Marble Giants,
Bill Wells,
Thompson Twins,
Fatback Band,
Scrapy,
Grandmaster Flash,
Radiopuhelimet,
Wolf Eyes,
Panda Bear,
Chrome,
Matthew Halsall,
China Crisis,
The Smoke,
Amon Düül II,
Jimmy McGriff,
the Swans,
Andrew Hill,
the Soft Cell,
Janne Schatter,
Scott Walker,
Excepter,
Aswad,
Outsiders,
UT,
Newcleus,
Dual Sessions,
Lalo Schifrin,
Kaleidoscope,
Thee Headcoats,
Eden Ahbez,
Fat Boys,
Susan Cadogan,
The Stooges,
Animal Collective,
Skarface,
Scratch Acid,
Neu!,
Kerrie Biddell,
Khruangbin,
Brass Construction,
Minor Threat,
The Men They Couldn't Hang,
Accadde A,
Inner City,
One Last Wish,
Suburban Knight,
Deakin,
The Velvet Underground,
Tomorrow,
Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs, Notorious Big And Bone Thugs.
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.