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 Nigeria and from Accra.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1970.
I'm losing my edge.
To all the kids in Philadelphia and Beijing.
I'm losing my edge to the art-school Salvador 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 808 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 The Fall to the disco 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 Roxette. All the underground hits.
All Albert Ayler tracks. I heard you have a vinyl of every Technova 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 an organ and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Subhumans,
The Beau Brummels,
Bang on a Can All-Stars,
Davy DMX,
Silicon Teens,
The Knickerbockers,
Bobbi Humphrey,
Visage,
The Monks,
Faust,
Nik Kershaw,
Curtis Mayfield,
Pantaleimon,
Mars,
Notorious Big And Bone Thugs,
Super Lover Cee & Casanova Rud,
Stereo Dub,
Scrapy,
Ludus,
Cymande,
The Residents,
Neu!,
The Golliwogs,
Mark Hollis,
Girls At Our Best!,
Magazine,
Royal Trux,
John Holt,
June of 44,
Moebius,
Gerry Rafferty,
Outsiders,
Andrew Hill,
48th St. Collective,
Minor Threat,
Fugazi,
Audionom,
Vladislav Delay,
Delta 5,
Groovy Waters,
Masters at Work,
Bang On A Can,
Thee Headcoats,
Gang Green,
Ossler,
Radiohead,
Ultravox,
Nation of Ulysses,
Crash Course in Science,
Red Lorry Yellow Lorry,
Robert Hood,
ABC,
Shoche,
Pierre Henry,
Cal Tjader,
Orchestral Manoeuvres in the Dark,
Colin Newman,
Junior Murvin,
Barrington Levy,
Sonny Sharrock,
8 Eyed Spy,
PIL,
Yusef Lateef, Yusef Lateef, Yusef Lateef, Yusef Lateef.
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.