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 South Sudan and from Winnipeg.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Manchester and Calgary.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the linndrum 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 Avey Tare to the electroclash kids.
I played it at CBGB's.
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 Pharaoh Sanders and the Fire Engines. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Kerrie Biddell 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 '80s cut and another box set from the '70s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse 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?
The Slits,
Grauzone,
Amon Düül II,
Gil Scott-Heron & Brian Jackson,
Heavy D & The Boyz,
Fluxion,
Ituana,
Gang Green,
Yazoo,
Max Romeo,
Sexual Harrassment,
Masters at Work,
The Beau Brummels,
Franke,
JFA,
Darondo,
Scientists,
Kerri Chandler,
Camberwell Now,
Selector Dub Narcotic,
Severed Heads,
Index,
Bang on a Can All-Stars,
Gastr Del Sol,
Kas Product,
Eric Dolphy,
Flash Fearless,
Tubeway Army,
Marvin Gaye,
Ohio Players,
Junior Murvin,
Avey Tare & Kría Brekkan,
Sugar Minott,
Marc Romboy vs. Booka Shade,
Eve St. Jones,
Blake Baxter,
the Swans,
Monks,
Boz Scaggs,
The Tremeloes,
Curtis Mayfield,
Throbbing Gristle,
Make Up,
The Pretty Things,
Unrelated Segments,
Juan Atkins,
Sam Rivers,
The Wake,
Yusef Lateef,
Niagra,
Manfred Mann's Earth Band,
Frankie Knuckles,
China Crisis,
Erasure,
The Busters,
Richard Hell and the Voidoids,
Mr. Review,
Mission of Burma,
Graham Central Station,
Desert Stars,
Depeche Mode,
The Standells,
The Skatalites, The Skatalites, The Skatalites, The Skatalites.
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.