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 Mali and from Glasgow.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1973.
I'm losing my edge.
To all the kids in Madrid and Philadelphia.
I'm losing my edge to the art-school Johannesburg 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 synthesizer 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 Prince Buster to the rock 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 Boogie Down Productions. All the underground hits.
All Beasts of Bourbon tracks. I heard you have a vinyl of every Popol Vuh 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 '70s.
I hear you're buying a mellotron and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Gang of Four record.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Move,
Index,
John Foxx,
The Star Department,
Slave,
The Dave Clark Five,
Sarah Menescal,
Lightning Bolt,
Bobby Hutcherson,
Kauko Röyhkä ja Narttu,
F. McDonald,
Frankie Knuckles,
Unwound,
Davy DMX,
Bob Dylan,
Half Japanese,
Kaleidoscope,
Groovy Waters,
Teenage Jesus and the Jerks,
Eric B and Rakim,
Swans,
Country Teasers,
Massinfluence,
Monolake,
Bobby Byrd,
Fat Boys,
Stiv Bators,
Average White Band,
Saccharine Trust,
London Community Gospel Choir,
Susan Cadogan,
Stereo Dub,
Sly & The Family Stone,
Notorious Big And Bone Thugs,
Joensuu 1685,
The Fugs,
Byron Stingily,
Sight & Sound,
Delon & Dalcan,
Scott Walker + Sunn O))),
Sexual Harrassment,
Brass Construction,
Malaria!,
Anthony Braxton,
June Days,
Peter Gordon & Love of Life Orchestra,
Siglo XX,
The Cure,
The American Breed,
Sonny Sharrock,
Barbara Tucker,
Rapeman,
Tropical Tobacco,
Sam Rivers,
X-Ray Spex,
The Grass Roots,
Magazine,
The Pop Group,
Altered Images,
The Sound,
Pole,
Sun City Girls,
The Remains, The Remains, The Remains, The Remains.
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.