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 Kenya and from Toronto.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Lagos and Philadelphia.
I'm losing my edge to the art-school Copenhagen 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 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 Young Marble Giants to the jazz kids.
I played it at the Spitz.
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 Theoretical Girls. All the underground hits.
All Richard Hell and the Voidoids tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal jazz 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 an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Flesh Eaters,
EPMD,
CMW,
Scion,
Barclay James Harvest,
Sister Nancy,
New Age Steppers,
Lizzy Mercier Descloux,
This Heat,
Janne Schatter,
Gerry Rafferty,
The Last Poets,
David Bowie,
Traffic Nightmare,
Minny Pops,
Joyce Sims,
The Mighty Diamonds,
Vainqueur,
In Retrospect,
June Days,
Orchestral Manoeuvres in the Dark,
Flipper,
Sonic Youth,
Max Romeo,
The Grass Roots,
JFA,
Hasil Adkins,
Popol Vuh,
Anthony Braxton,
Bobby Womack,
Gil Scott-Heron and Jamie xx,
Barrington Levy,
Marc Romboy vs. Booka Shade,
The Sisters of Mercy,
Peter Gordon & Love of Life Orchestra,
Television Personalities,
The Star Department,
Funkadelic,
Supertramp,
Sarah Menescal,
Q and Not U,
Symarip,
Liliput,
DJ Style,
The Angels of Light,
E-Dancer,
The Victims,
Interpol,
Wally Richardson,
John Coltrane,
Ken Boothe,
Unrelated Segments,
Rites of Spring,
Adolescents,
the Sonics,
Gastr Del Sol,
Shoche,
Maleditus Sound,
Von Mondo,
The American Breed,
Motorama,
Hot Snakes,
The Busters, The Busters, The Busters, The Busters.
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.