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 Sierra Leone and from Paris.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Lyon and Hong Kong.
I'm losing my edge to the art-school London 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Robert Palmer 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 Blancmange to the jazz 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 F. McDonald. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Sad Lovers and Giants record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Janne Schatter record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young,
Delta 5,
The Cramps,
Curtis Mayfield,
Marmalade,
K-Klass,
Main Source,
Kaleidoscope,
Ajijia Myrayebe,
Drexciya,
Matthew Bourne,
Alison Limerick,
The Index,
Terrestrial Tones,
Ludus,
Janne Schatter,
Red Lorry Yellow Lorry,
The United States of America,
Joyce Sims,
Throbbing Gristle,
Negative Approach,
The Gladiators,
Agent Orange,
Ornette Coleman,
Heaven 17,
Jerry's Kids,
Todd Terry,
Nils Olav,
Spoonie Gee,
X-102,
Brand Nubian,
The Smoke,
Fear,
The Martian,
Deutsch Amerikanische Freundschaft,
Arthur Verocai,
Subhumans,
Cabaret Voltaire,
Desert Stars,
The Buckinghams,
Radiohead,
Gil Scott-Heron & Brian Jackson,
the Fania All-Stars,
Little Man,
Bill Wells,
Roy Ayers Ubiquity,
Kango’s Stein Massive,
Gang of Four,
Can,
Rotary Connection,
The Last Poets,
Jacques Brel,
Scientists,
The Wake,
Godley & Creme,
Barrington Levy,
Popol Vuh,
The Music Machine,
Soft Cell,
EPMD,
Underground Resistance,
Panda Bear,
Country Joe & The Fish,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.