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 Cameroon and from Shanghai.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1964 to 1979.
I'm losing my edge.
To all the kids in Taipei and Accra.
I'm losing my edge to the art-school Bremen 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 theremin sounds with much patience.
I was there when Donald Fagen 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 The Detroit Cobras to the punk 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 Lizzy Mercier Descloux. All the underground hits.
All Alison Limerick tracks. I heard you have a vinyl of every Lafayette Afro Rock Band 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 a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nick Fraelich,
JFA,
Lee Hazlewood,
Fluxion,
Dawn Penn,
Rekid,
Idris Muhammad,
A Certain Ratio,
Visage,
Ronnie Foster,
Gerry Rafferty,
John Cale,
Kango’s Stein Massive,
Gregory Isaacs,
Jesper Dahlbäck,
Fifty Foot Hose,
Sandy B,
Amon Düül II,
Laurel Aitken,
The Vogues,
Neil Young & Crazy Horse,
The Gladiators,
The Martian,
Wings,
The United States of America,
PIL,
Moebius,
The Saints,
Drexciya,
Marvin Gaye,
Chrome,
Heavy D & The Boyz,
Scratch Acid,
H. Thieme,
the Fania All-Stars,
Symarip,
Negative Approach,
Sexual Harrassment,
Henry Cow,
John Lydon,
Hoover,
Notorious BIG live in Amsterdam,
The Cowsills,
Nirvana,
Pierre Henry,
Rhythm & Sound,
Kauko Röyhkä ja Narttu,
Minor Threat,
Roxy Music,
Eurythmics,
Bronski Beat,
New York Dolls,
Agent Orange,
Andrew Ashong & Theo Parrish,
Joe Finger,
Alison Limerick,
a-ha,
Ash Ra Tempel,
Godley & Creme,
Throbbing Gristle,
Carl Craig,
Flipper,
Q and Not U, Q and Not U, Q and Not U, Q and Not U.
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.