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 Angola and from Beijing.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Manchester and Taipei.
I'm losing my edge to the art-school Glasgow 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 chamberlin 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 Bauhaus to the funk 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 The Jesus and Mary Chain. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every Lou Reed & Metallica 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 linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Roxette,
Avey Tare,
Althea and Donna,
Black Pus,
Robert Wyatt,
Toni Rubio,
cv313,
De La Soul & Jungle Brothers,
Pagans,
Notorious Big And Bone Thugs,
The Neon Judgement,
Rotary Connection,
Faust,
The Five Americans,
Röyhkä ja Rättö ja Lehtisalo,
Captain Beefheart & His Magic Band,
The Techniques,
Wasted Youth,
Fad Gadget,
Anthony Braxton,
Darondo,
Peter and Kerry,
Rites of Spring,
Cecil Taylor,
Television Personalities,
Graham Central Station,
Electric Prunes,
Trumans Water,
Funkadelic,
Steve Hackett,
Sam Rivers,
John Lydon,
The Searchers,
Qualms,
Quadrant,
Wighnomy Brothers & Robag Wruhme,
Fort Wilson Riot,
Can,
Jacques Brel,
The Black Dice,
Mr. Review,
Lucky Dragons,
Accadde A,
Liaisons Dangereuses,
In Retrospect,
The Detroit Cobras,
Pet Shop Boys,
X-101,
Bizarre Inc.,
Delon & Dalcan,
DJ Style,
Essential Logic,
Lizzy Mercier Descloux,
The Peanut Butter Conspiracy,
Teenage Jesus and the Jerks,
Blossom Toes,
The Red Krayola,
Mars,
Ronnie Foster,
Marc Almond,
Barbara Tucker,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.