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 Ethiopia and from Salvador.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1979.
I'm losing my edge.
To all the kids in Seoul and Madrid.
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 1975 at the first Throbbing Gristle 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 The Pop Group to the jazz kids.
I played it at Trash.
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 Motions. All the underground hits.
All The Neon Judgement tracks. I heard you have a vinyl of every Lizzy Mercier Descloux record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
L. Decosne,
Dead Boys,
Lungfish,
Gong,
Echo & the Bunnymen,
Camron Feat. Memphis Bleek And Beenie Seigel,
Hot Snakes,
Max Romeo,
Magma,
Sexual Harrassment,
Art Ensemble Of Chicago,
Curtis Mayfield,
Barrington Levy,
Easy Going,
Stetsasonic,
The Star Department,
Japan,
Wighnomy Brothers & Robag Wruhme,
ABBA,
In Retrospect,
Cheater Slicks,
Lou Reed,
Charles Mingus,
Los Fastidios,
The Beau Brummels,
T.S.O.L.,
Lindisfarne,
Country Teasers,
Hoover,
The J.B.'s,
Sound Behaviour,
Negative Approach,
The Cure,
Henry Cow,
Crash Course in Science,
Josef K,
Visage,
Black Flag,
Roxette,
Wasted Youth,
The Motions,
Todd Terry,
The Durutti Column,
The Electric Prunes,
Barclay James Harvest,
Von Mondo,
Urselle,
Warsaw,
Camberwell Now,
Tres Demented,
Minutemen,
Sister Nancy,
The Offenders,
Dark Day,
Con Funk Shun,
Maleditus Sound,
The West Coast Pop Art Experimental Band,
Rod Modell,
Fort Wilson Riot,
The Smoke,
Pantaleimon,
James Chance & The Contortions,
Niagra, Niagra, Niagra, Niagra.
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.