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 Algeria and from New York.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Mumbai and Johannesburg.
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 theremin 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 Sound Behaviour to the rap kids.
I played it at the Roxy.
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 Metal Thangz. All the underground hits.
All Depeche Mode tracks. I heard you have a vinyl of every Agitation Free record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a mellotron and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Parry Music record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smiths,
Lakeside,
The Mighty Diamonds,
Hasil Adkins,
Arthur Verocai,
Marmalade,
Heavy D & The Boyz,
The Sisters of Mercy,
The Remains,
The Moleskins,
Nils Olav,
The Mummies,
Lizzy Mercier Descloux,
Minutemen,
Das Ding,
Brick,
Audionom,
Al Stewart,
Popol Vuh,
Mantronix,
MDC,
Fort Wilson Riot,
The Flesh Eaters,
Bill Wells,
Wire,
Eve St. Jones,
Stiv Bators,
Severed Heads,
The Smoke,
Rotary Connection,
Ajijia Myrayebe,
Unwound,
Rhythm & Sound,
Public Image Ltd.,
The Blues Magoos,
Camberwell Now,
Gang of Four,
Robert Wyatt,
Don Cherry,
Country Joe & The Fish,
Siglo XX,
Lou Reed & John Cale,
Lou Reed & Metallica,
Oneida,
Blossom Toes,
Smog,
The Selecter,
R.M.O.,
Connie Case,
Gang Starr,
Aural Exciters,
The Names,
Trumans Water,
DeepChord presents Echospace,
Dorothy Ashby,
ABBA,
Infiniti,
Urselle,
Altered Images,
Sun Ra,
Malaria!,
The American Breed,
Derrick May, Derrick May, Derrick May, Derrick May.
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.