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-Bissau and from Manchester.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Madrid.
I'm losing my edge to the art-school Accra 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 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 Avey Tare to the disco kids.
I played it at the 40 Watt.
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 Arcadia. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Quantec 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Scientists record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
The Mighty Diamonds,
Qualms,
Make Up,
The Techniques,
Yusef Lateef,
Soft Machine,
a-ha,
Can,
Leonard Cohen,
Lalo Schifrin,
Rhythm & Sound,
Dawn Penn,
Gang Green,
Groovy Waters,
Sarah Menescal,
Susan Cadogan,
Grandmaster Flash,
Alphaville,
Fad Gadget,
Harmonia,
Television,
Second Layer,
Zapp,
Tom Boy,
Supertramp,
Charles Mingus,
Model 500,
Prince Buster,
Neil Young,
Terror Squad Feat. Camron,
Stockholm Monsters,
Crispian St. Peters,
Tears for Fears,
Electric Prunes,
10cc,
The Saints,
Y Pants,
Soul II Soul,
Andrew Ashong & Theo Parrish,
Freddie Wadling,
Ralphi Rosario,
Ossler,
Erykah Badu,
cv313,
The Gories,
Marcia Griffiths,
Country Teasers,
Severed Heads,
James White and The Blacks,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Black Pus,
Man Eating Sloth,
China Crisis,
Juan Atkins,
Derrick May,
A Flock of Seagulls,
Yellowson,
X-102,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.