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 Kazakhstan and from Woodstock.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Paris and Glasgow.
I'm losing my edge to the art-school Jakarta 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 guitar 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 ABBA to the grunge 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 Kurtis Blow. All the underground hits.
All Don Cherry tracks. I heard you have a vinyl of every London Community Gospel Choir 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 sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Swans record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
Suicide,
Camberwell Now,
Eyeless In Gaza,
Dark Day,
Clear Light,
The Shadows of Knight,
The Fortunes,
Shuggie Otis,
Alphaville,
Alton Ellis,
Lindisfarne,
Stockholm Monsters,
Gang Starr,
Panda Bear,
Flash Fearless,
Byron Stingily,
It's A Beautiful Day,
The Doobie Brothers,
The Vogues,
Kerrie Biddell,
Toni Rubio,
L. Decosne,
Notorious BIG live in Amsterdam,
Bobbi Humphrey,
Kauko Röyhkä ja Narttu,
Lalo Schifrin,
Lou Reed & John Cale,
U.S. Maple,
Kool G Rap & DJ Polo,
Model 500,
Gil Scott-Heron and Jamie xx,
Eden Ahbez,
Dr. Dre and Snoop Doggy Dog,
Richard Hell and the Voidoids,
Boz Scaggs,
MDC,
Blossom Toes,
Marshall Jefferson,
Tears for Fears,
Mary Jane Girls,
Yazoo,
Young Marble Giants,
Barrington Levy,
Monks,
Pete Rock & C.L. Smooth,
E-Dancer,
Black Moon,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Inner City,
Bob Dylan,
Main Source,
Bizarre Inc.,
Radiopuhelimet,
Cymande,
Lakeside,
Bluetip,
The Durutti Column,
Terry Callier,
Electric Prunes,
The Human League, The Human League, The Human League, The Human League.
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.