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 Colombia and from Glasgow.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Woodstock.
I'm losing my edge to the art-school Manchester 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 linndrum 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 H. Thieme to the punk kids.
I played it at the Hacienda.
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 Durutti Column. All the underground hits.
All Audionom tracks. I heard you have a vinyl of every The Index record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Shoche,
Porter Ricks,
Deepchord,
Crime,
Anakelly,
Faraquet,
a-ha,
Funkadelic,
Aloha Tigers,
A Flock of Seagulls,
Todd Terry,
Yellowson,
Jesper Dahlback,
Dual Sessions,
Talk Talk,
Wally Richardson,
The Martian,
The Motions,
Boz Scaggs,
These Immortal Souls,
Echospace,
The Stooges,
Soft Machine,
John Coltrane,
Curtis Mayfield,
Notorious Big And Bone Thugs,
In Retrospect,
Notorious BIG live in Amsterdam,
The Evens,
Joe Finger,
Half Japanese,
Chrome,
Janne Schatter,
Steve Hackett,
Neil Young & Crazy Horse,
Ossler,
Morten Harket,
Guru Guru,
The Angels of Light,
Todd Rundgren,
Andrew Hill,
Robert Wyatt,
Nick Cave & The Bad Seeds,
Buzzcocks,
Zapp,
Yazoo,
Ludus,
Main Source,
The Sonics,
Cabaret Voltaire,
Angry Samoans,
Mandrill,
Barry Ungar,
Visage,
Cecil Taylor,
Blancmange,
The Remains,
Wighnomy Brothers & Robag Wruhme,
Fluxion,
X-Ray Spex,
Lebanon Hanover,
Black Pus,
Peter & Gordon,
Q65, Q65, Q65, Q65.
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.