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 Colombia and from Lagos.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Mexico City.
I'm losing my edge to the art-school Portland 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the 808 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 Robert Wyatt to the disco kids.
I played it at the Roxy.
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 Sarah Menescal tracks. I heard you have a vinyl of every Television record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Kango’s Stein Massive record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anakelly,
Bronski Beat,
The Black Dice,
Rhythm & Sound,
Barrington Levy,
Deepchord,
U.S. Maple,
Skriet,
Talk Talk,
Richard Hell and the Voidoids,
Cheater Slicks,
The Five Americans,
Cluster,
Neu!,
Wasted Youth,
Drive Like Jehu,
Basic Channel,
Easy Going,
Maurizio,
Chris & Cosey,
Marc Romboy vs. Booka Shade,
Harpers Bizarre,
Subhumans,
Mars,
Organ,
FM Einheit,
Janne Schatter,
Robert Hood,
Surgeon,
Average White Band,
The Fugs,
Donny Hathaway,
The Electric Prunes,
Dark Day,
Beasts of Bourbon,
Bill Wells,
The Smiths,
Rowland S Howard / Lydia Lunch,
Symarip,
New York Dolls,
Unwound,
Laurel Aitken,
Gastr Del Sol,
Marshall Jefferson,
Arthur Verocai,
Girls At Our Best!,
Howard Jones,
KRS-One,
Kerri Chandler,
K-Klass,
Rotary Connection,
Ludus,
Radiohead,
Johnny Osbourne,
Funky Four + One,
Fad Gadget,
Angry Samoans,
Pole,
Major Organ And The Adding Machine,
Jandek,
Index,
Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire, Cabaret Voltaire.
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.