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 Syria and from Lyon.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1970.
I'm losing my edge.
To all the kids in Manchester and Shanghai.
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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 L. Decosne to the grunge 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 Teenage Jesus and the Jerks. All the underground hits.
All Marmalade tracks. I heard you have a vinyl of every Byron Stingily record on German import.
I heard that you have a white label of every seminal grime 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 a 808 and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Terrestrial Tones record.
I hear that you and your band have sold your 808 and bought a güiro.
I hear that you and your band have sold your güiro and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vladislav Delay,
Warren Ellis,
Hardrive,
Lucky Dragons,
Robert Wyatt,
Vainqueur,
The Tremeloes,
World's Most,
Kevin Saunderson,
the Sonics,
KRS-One,
Gian Franco Pienzio,
Rekid,
Jeru the Damaja,
Yusef Lateef,
Rhythm & Sound,
The Pop Group,
Faraquet,
Animal Collective,
Röyhkä ja Rättö ja Lehtisalo,
Sex Pistols,
Newcleus,
Graham Central Station,
Ronnie Foster,
Spandau Ballet,
Colin Newman,
Man Parrish,
The Gladiators,
Glambeats Corp.,
Oppenheimer Analysis,
Rites of Spring,
Visage,
Henry Cow,
Tears for Fears,
The Mummies,
The Kinks,
Scrapy,
A Flock of Seagulls,
Blossom Toes,
The Residents,
Outsiders,
Sunsets and Hearts,
The Motions,
Public Image Ltd.,
Angry Samoans,
Hoover,
Siouxsie and the Banshees,
Gil Scott-Heron and Jamie xx,
Average White Band,
Eric Copeland,
Dawn Penn,
Parry Music,
Slick Rick,
John Coltrane,
Nirvana,
The Knickerbockers,
The Music Machine,
DJ Style,
Throbbing Gristle,
Gichy Dan,
The Move,
The Gap Band,
DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace, DeepChord presents Echospace.
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.