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 Uruguay and from Hong Kong.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Sao Paulo and Delhi.
I'm losing my edge to the art-school Salvador 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Fat Boys to the rap kids.
I played it at the 40 Watt.
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 John Cale. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every Japan record on German import.
I heard that you have a white label of every seminal rock 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 clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Byron Stingily,
Dorothy Ashby,
Red Lorry Yellow Lorry,
Deakin,
The Toasters,
Lonnie Liston Smith,
Ice-T,
Lalann,
Newcleus,
Bush Tetras,
Easy Going,
Shoche,
Clear Light,
Pantaleimon,
Rowland S Howard / Lydia Lunch,
Sight & Sound,
Bob Dylan,
Tropical Tobacco,
Jacob Miller,
Chrome,
The Index,
Sunsets and Hearts,
The New Christs,
Avey Tare,
Laurel Aitken,
Crash Course in Science,
OOIOO,
the Soft Cell,
Sun Ra,
Kenny Larkin,
Black Sheep,
Quando Quango,
Juan Atkins,
Q and Not U,
David Bowie,
Harry Pussy,
Motorama,
The Moody Blues,
Gabor Szabo,
Visage,
Sparks,
Interpol,
U.S. Maple,
Rod Modell,
Absolute Body Control,
The Men They Couldn't Hang,
Index,
The Five Americans,
Mo-Dettes,
John Coltrane,
Sam Rivers,
Aaron Thompson,
The Sound,
Isaac Hayes,
Alphaville,
Marc Romboy vs. Booka Shade,
The Dead C,
The West Coast Pop Art Experimental Band,
Nation of Ulysses,
The Leaves,
DJ Style,
Half Japanese,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.