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 Guinea and from Houston.
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 1979.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Cairo 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 Holger Czukay 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 Orchestral Manoeuvres in the Dark to the dance kids.
I played it at CBGB's.
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 Robert Wyatt. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Barclay James Harvest 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 '50s cut and another box set from the '70s.
I hear you're buying an organ and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Goldenarms record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Matthew Halsall,
Cameo,
Jacob Miller,
X-101,
Bauhaus,
Roy Ayers Ubiquity,
Ronnie Foster,
Grandmaster Flash,
Reuben Wilson,
The Modern Lovers,
Can,
A Certain Ratio,
The Mighty Diamonds,
Minny Pops,
Rotary Connection,
Magma,
Al Stewart,
Notorious Big And Bone Thugs,
Rapeman,
Flamin' Groovies,
Excepter,
The Techniques,
the Normal,
Nils Olav,
Radiohead,
The Slits,
Richard Hell and the Voidoids,
U.S. Maple,
Ultramagnetic MC's,
Pharaoh Sanders and the Fire Engines,
Sandy B,
Colin Newman,
The United States of America,
The Fall,
Sonny Sharrock,
Amazonics,
Sarah Menescal,
Television Personalities,
Stereo Dub,
The Moleskins,
De La Soul & Jungle Brothers,
Con Funk Shun,
Lee Hazlewood,
Radiopuhelimet,
Terrestrial Tones,
Radio Birdman,
Eric B and Rakim,
The Alarm Clocks,
John Lydon,
Organ,
Piero Umiliani,
Adolescents,
Intrusion,
the Slits,
Yusef Lateef,
Lightning Bolt,
Marcia Griffiths,
Aswad,
Jeff Mills,
Cabaret Voltaire,
The Star Department,
Nick Fraelich, Nick Fraelich, Nick Fraelich, Nick Fraelich.
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.