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 Malta and from Columbus.
But I was there.
I was there in 1973.
I was there at the first Television 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 1962 to 1970.
I'm losing my edge.
To all the kids in Houston and Columbus.
I'm losing my edge to the art-school Bremen 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 güiro sounds with much patience.
I was there when Michael McDonald 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 Rhythim Is Rhythim to the disco 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 Sad Lovers and Giants. All the underground hits.
All Blossom Toes tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a X-Ray Spex record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
The Names,
Big Daddy Kane,
Sad Lovers and Giants,
The Martian,
June of 44,
Index,
the Soft Cell,
Drexciya,
Liliput,
The Knickerbockers,
Mary Jane Girls,
Barbara Tucker,
World's Most,
The Kinks,
The Smoke,
One Last Wish,
Ash Ra Tempel,
Kango’s Stein Massive,
Groovy Waters,
Pharoah Sanders,
Crime,
Can,
Minny Pops,
Henry Cow,
The Raincoats,
Easy Going,
cv313,
Gichy Dan,
Albert Ayler,
Eurythmics,
Wolf Eyes,
The Motions,
Hardrive,
Camouflage,
The Smiths,
The Sonics,
Donald Byrd,
The Skatalites,
Throbbing Gristle,
Aloha Tigers,
Connie Case,
Deadbeat,
Bootsy's Rubber Band,
Junior Murvin,
David McCallum,
The Cramps,
JFA,
Visionaries,LMNO, T- Love & Iriscience,
The Royal Family And The Poor,
Crooked Eye,
Marc Romboy vs. Booka Shade,
MC5,
The Grass Roots,
Los Fastidios,
the Association,
Eddi Front,
Accadde A,
Sällskapet,
Gian Franco Pienzio,
Johnny Osbourne,
Dual Sessions, Dual Sessions, Dual Sessions, Dual Sessions.
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.