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 Trinidad & Tobago and from Milan.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Hong Kong.
I'm losing my edge to the art-school Delhi 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 Nile Rodgers 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 Pierre Henry to the techno kids.
I played it at the Troubador.
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 Bootsy's Rubber Band. All the underground hits.
All Agent Orange tracks. I heard you have a vinyl of every Connie Case 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
Danielle Patucci,
Angels of Light & Akron/Family,
The Wake,
Bush Tetras,
Byron Stingily,
Gong,
The Seeds,
Clear Light,
Black Pus,
Ronnie Foster,
cv313,
Soft Machine,
Lizzy Mercier Descloux,
Althea and Donna,
F. McDonald,
MC5,
Mantronix,
Graham Central Station,
Al Stewart,
Bootsy Collins,
Kenny Larkin,
Joensuu 1685,
World's Most,
Desert Stars,
Nick Cave & The Bad Seeds,
Cecil Taylor,
Dave Gahan,
Supertramp,
Notorious BIG live in Amsterdam,
Joyce Sims,
Duran Duran,
Jeff Lynne,
L. Decosne,
Dorothy Ashby,
Quando Quango,
DJ Sneak,
Thompson Twins,
Groovy Waters,
the Swans,
The American Breed,
Kurtis Blow,
Erasure,
Livin' Joy,
Main Source,
The Cure,
Gerry Rafferty,
Hardrive,
The Men They Couldn't Hang,
Avey Tare's Slasher Flicks,
Lightning Bolt,
Loose Ends,
Marc Almond,
Sister Nancy,
Donald Byrd,
Fela Kuti,
Sarah Menescal,
Strawberry Alarm Clock,
The Techniques,
Country Teasers,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.