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 Haiti and from Bologna.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Edmonton.
I'm losing my edge to the art-school Stockholm 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 güiro sounds with much patience.
I was there when David Bowie 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 Los Fastidios to the dance kids.
I played it at the Astoria.
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 The Alarm Clocks. All the underground hits.
All Fluxion tracks. I heard you have a vinyl of every Symarip record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
Maurizio,
Sight & Sound,
Warren Ellis,
Lyres,
Siouxsie and the Banshees,
Ken Boothe,
The Vogues,
Jesper Dahlback,
Main Source,
The Shadows of Knight,
Lower 48,
The Smiths,
Shoche,
Alphaville,
Liliput,
John Lydon,
Malaria!,
Super Lover Cee & Casanova Rud,
The Durutti Column,
Ituana,
Ludus,
Chris & Cosey,
Sam Rivers,
Bobby Womack,
Can,
Anthony Braxton,
Ultravox,
Reagan Youth,
Idris Muhammad,
Junior Murvin,
Los Fastidios,
James Chance & The Contortions,
Little Man,
Scratch Acid,
Popol Vuh,
The Evens,
Al Stewart,
Dorothy Ashby,
Jerry's Kids,
Eric Copeland,
Ossler,
Ice-T,
Man Eating Sloth,
World's Most,
Avey Tare's Slasher Flicks,
The Invisible,
Von Mondo,
Banda Bassotti,
Niagra,
Mandrill,
ABC,
The Red Krayola,
The United States of America,
Oppenheimer Analysis,
The Men They Couldn't Hang,
Jandek,
Susan Cadogan,
Steve Hackett,
The Smoke, The Smoke, The Smoke, The Smoke.
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.