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 Morocco and from Lyon.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Lyon and Portland.
I'm losing my edge to the art-school Tehran 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 1976 at the first Wire practice in a loft in Watford.
I was working on the arpeggiator sounds with much patience.
I was there when David Bowie 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 Derrick May to the funk kids.
I played it at the Astoria.
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 The Associates. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Cluster 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Association,
Wolf Eyes,
Matthew Halsall,
the Fania All-Stars,
Avey Tare's Slasher Flicks,
Rapeman,
Quadrant,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Rekid,
Radiopuhelimet,
Gang Gang Dance,
Unrelated Segments,
Grandmaster Flash and the Furious Five,
Metal Thangz,
Buzzcocks,
Bill Wells,
Little Man,
Television Personalities,
Minnie Riperton,
Rahsaan Roland Kirk,
DJ Sneak,
Swell Maps,
Jerry's Kids,
Pantaleimon,
The New Christs,
Soft Cell,
Black Bananas,
Stetsasonic,
Letta Mbulu,
The Residents,
Ultimate Spinach,
Kool Moe Dee,
The Doors,
The Vogues,
Barry Ungar,
The Mojo Men,
Iggy Pop,
The Gap Band,
Cecil Taylor,
Half Japanese,
The Music Machine,
Kaleidoscope,
Skarface,
Roy Ayers Ubiquity,
Graham Central Station,
Lalann,
Neu!,
Television,
Joy Division,
The Grass Roots,
Henry Cow,
Mo-Dettes,
Maurizio,
Flash Fearless,
Barbara Tucker,
Red Lorry Yellow Lorry,
Super Lover Cee & Casanova Rud,
Guru Guru,
Nas,
Delta 5,
U.S. Maple,
Orchestral Manoeuvres in the Dark,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.