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 France and from Manila.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Halifax and Manchester.
I'm losing my edge to the art-school Lille 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 mellotron 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 E-Dancer to the grime 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 Porter Ricks. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every The Young Rascals record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Q and Not U record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
Art Ensemble Of Chicago,
Hardrive,
Sällskapet,
B.T. Express,
Gastr Del Sol,
The Searchers,
Metal Thangz,
Chrome,
The Gladiators,
Ludus,
Aaron Thompson,
Larry & the Blue Notes,
Fort Wilson Riot,
Babytalk,
Robert Wyatt,
Drexciya,
Bobbi Humphrey,
E-Dancer,
Jeff Mills,
Frankie Knuckles,
the Sonics,
In Retrospect,
Mission of Burma,
Gong,
The Monochrome Set,
Jacques Brel,
Marc Almond,
Althea and Donna,
Manfred Mann's Earth Band,
John Cale,
Rowland S Howard / Lydia Lunch,
The Slits,
Little Man,
Peter Gordon & Love of Life Orchestra,
Desert Stars,
the Normal,
Bang on a Can All-Stars,
Marine Girls,
Neil Young,
James Chance & The Contortions,
Judy Mowatt,
MC5,
Panda Bear,
Radiohead,
Scratch Acid,
This Heat,
Oblivians,
T. Rex,
Sparks,
Notorious Big And Bone Thugs,
The West Coast Pop Art Experimental Band,
Nils Olav,
Shoche,
Oneida,
Black Bananas,
Sugar Minott,
Steve Hackett,
Juan Atkins,
Supertramp,
Gang Starr,
Parry Music,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.