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 Papua New Guinea and from Beijing.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Toronto and Shanghai.
I'm losing my edge to the art-school Tehran 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 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 Harry Pussy to the funk kids.
I played it at Trash.
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 Lalo Schifrin. All the underground hits.
All Chris Corsano tracks. I heard you have a vinyl of every Nation of Ulysses record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Howard Jones,
The Electric Prunes,
Terry Callier,
DeepChord presents Echospace,
Justin Hinds & The Dominoes,
Infiniti,
Donald Byrd,
Adolescents,
Little Man,
Jerry's Kids,
Sex Pistols,
Juan Atkins,
The Sonics,
The J.B.'s,
the Swans,
John Coltrane,
Mo-Dettes,
Clear Light,
Swell Maps,
Roxette,
Bobby Womack,
Aaron Thompson,
Pantaleimon,
The Human League,
Black Sheep,
Nico,
Reagan Youth,
Ten City,
Rufus Thomas,
The Red Krayola,
Skriet,
PIL,
Zero Boys,
The Grass Roots,
Wasted Youth,
Gerry Rafferty,
Notorious Big And Bone Thugs,
Parry Music,
Gil Scott-Heron and Jamie xx,
Young Marble Giants,
Blake Baxter,
Echospace,
Danielle Patucci,
Colin Newman,
Flash Fearless,
Chrome,
Morten Harket,
Spandau Ballet,
Average White Band,
8 Eyed Spy,
Isaac Hayes,
Alphaville,
Jeru the Damaja,
Los Fastidios,
The West Coast Pop Art Experimental Band,
This Heat,
John Lydon,
The Count Five,
Saccharine Trust,
The Durutti Column,
The Black Dice,
Alton Ellis,
The Velvet Underground, The Velvet Underground, The Velvet Underground, The Velvet Underground.
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.