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 Poland and from Halifax.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1968 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Taipei.
I'm losing my edge to the art-school Bologna 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 chamberlin sounds with much patience.
I was there when Holger Czukay 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 Camberwell Now to the grime 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 Fire Engines. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every Wighnomy Brothers & Robag Wruhme record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Camberwell Now record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed,
the Association,
Sexual Harrassment,
Fluxion,
Nik Kershaw,
Y Pants,
Marvin Gaye,
Deadbeat,
Traffic Nightmare,
Peter & Gordon,
Fugazi,
Radiohead,
The Durutti Column,
Ten City,
Japan,
Das Ding,
The Wake,
The Mummies,
Joe Smooth,
The Smoke,
Connie Case,
The Remains,
Soft Machine,
Röyhkä ja Rättö ja Lehtisalo,
Rapeman,
Lou Reed & Metallica,
Faraquet,
Big Daddy Kane,
Buzzcocks,
The Standells,
Rhythm & Sound,
Sonny Sharrock,
Robert Görl,
Babytalk,
Ash Ra Tempel,
Bootsy Collins,
FM Einheit,
Massinfluence,
Glenn Branca,
Lightning Bolt,
Black Flag,
Joy Division,
Yellowson,
Byron Stingily,
Wire,
Amon Düül,
Intrusion,
Sister Nancy,
New Order,
The Fire Engines,
Laurel Aitken,
Motorama,
Q and Not U,
Marc Romboy vs. Booka Shade,
Sun Ra,
New York Dolls,
Black Pus,
Rahsaan Roland Kirk,
Andrew Hill,
Orchestral Manoeuvres in the Dark,
Sonic Youth,
Derrick May,
The West Coast Pop Art Experimental Band,
Scan 7, Scan 7, Scan 7, Scan 7.
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.