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 Canada and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1975.
I'm losing my edge.
To all the kids in Accra and Delhi.
I'm losing my edge to the art-school Edmonton 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 sitar sounds with much patience.
I was there when Captain Beefheart 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 New York Dolls to the grime kids.
I played it at the Crocodile.
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 Bobby Hutcherson. All the underground hits.
All Gregory Isaacs tracks. I heard you have a vinyl of every Terry Callier 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 '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
The Gladiators,
Faust,
Lindisfarne,
The Seeds,
Kaleidoscope,
Khruangbin,
D'Angelo,
the Soft Cell,
Sun Ra Arkestra,
Richard Hell and the Voidoids,
The Motions,
Marshall Jefferson,
Gang of Four,
Eurythmics,
48th St. Collective,
Drexciya,
The Real Kids,
Gil Scott Heron,
Eric Copeland,
David Bowie,
Ultravox,
Bang On A Can,
Zero Boys,
Leonard Cohen,
In Retrospect,
Outsiders,
Judy Mowatt,
Inner City,
Al Stewart,
Bobby Sherman,
Isaac Hayes,
Alice Coltrane,
Ralphi Rosario,
The Fortunes,
Nico,
Moby Grape,
Marc Almond,
Flash Fearless,
Minnie Riperton,
Derrick Morgan,
Smog,
Harpers Bizarre,
Magma,
Qualms,
Underground Resistance,
Dr. Dre and Snoop Doggy Dog,
Matthew Bourne,
The Jesus and Mary Chain,
Marcia Griffiths,
Goldenarms,
Skarface,
Agitation Free,
Kango’s Stein Massive,
Chrome,
Terrestrial Tones,
Hasil Adkins,
June Days,
Anakelly,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Detroit Cobras,
Delta 5,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.