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 Mongolia and from Delhi.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1979.
I'm losing my edge.
To all the kids in Taipei and Lyon.
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 oboe 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 the Fania All-Stars to the disco kids.
I played it at CBGB's.
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 AZ. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Jeru the Damaja record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grey Daturas,
Eurythmics,
Dual Sessions,
Pierre Henry,
Grauzone,
Girls At Our Best!,
Bronski Beat,
Mark Hollis,
Rufus Thomas,
Matthew Halsall,
The Tremeloes,
Gabor Szabo,
Mission of Burma,
Mars,
OOIOO,
Audionom,
Subhumans,
Crispian St. Peters,
Maleditus Sound,
Joyce Sims,
Ten City,
Mary Jane Girls,
Model 500,
The Gun Club,
Mr. Review,
Bauhaus,
The Cowsills,
Albert Ayler,
Drexciya,
The Beau Brummels,
Rhythm & Sound,
Graham Central Station,
Thinking Fellers Union Local 282,
Accadde A,
Cabaret Voltaire,
Fugazi,
Con Funk Shun,
DJ Style,
CMW,
Alton Ellis,
Liliput,
DeepChord presents Echospace,
Roxy Music,
The Selecter,
Flipper,
PIL,
La Düsseldorf,
Angels of Light & Akron/Family,
Andrew Ashong & Theo Parrish,
The Gladiators,
ABC,
D'Angelo,
The Dirtbombs,
The Sisters of Mercy,
Delon & Dalcan,
The Fire Engines,
Dr. Dre and Snoop Doggy Dog,
Section 25,
Lyres,
Robert Görl,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.