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 Nepal and from Manila.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Jakarta.
I'm losing my edge to the art-school Lagos 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 synthesizer sounds with much patience.
I was there when Lou Reed 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 Scratch Acid to the funk kids.
I played it at the Spitz.
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 Notorious Big And Bone Thugs. All the underground hits.
All Theoretical Girls tracks. I heard you have a vinyl of every Lou Reed 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 '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
the Fania All-Stars,
ABBA,
Brick,
Harpers Bizarre,
Bluetip,
Johnny Clarke,
Lakeside,
The Gladiators,
Duran Duran,
Eden Ahbez,
Richard Hell and the Voidoids,
48th St. Collective,
Mars,
Charles Mingus,
The Fire Engines,
Hot Snakes,
Massinfluence,
Rufus Thomas,
Accadde A,
Marshall Jefferson,
Morten Harket,
Brand Nubian,
Jesper Dahlbäck,
Slick Rick,
Gabor Szabo,
Glambeats Corp.,
Juan Atkins,
Bronski Beat,
U.S. Maple,
Ultimate Spinach,
the Human League,
James Chance & The Contortions,
PIL,
Radiohead,
Grandmaster Flash,
The Raincoats,
Qualms,
Michelle Simonal,
Scion,
Gerry Rafferty,
Boz Scaggs,
The Kinks,
It's A Beautiful Day,
Sixth Finger,
FM Einheit,
Sun City Girls,
David Bowie,
Ice-T,
Brass Construction,
Organ,
Black Bananas,
Aloha Tigers,
The Royal Family And The Poor,
X-102,
Yaz,
kango's stein massive,
Absolute Body Control,
Tomorrow, Tomorrow, Tomorrow, Tomorrow.
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.