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 Nepal and from Manchester.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Tehran and Delhi.
I'm losing my edge to the art-school Lagos 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Jeff Mills to the dance kids.
I played it at the 40 Watt.
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 Peanut Butter Conspiracy. All the underground hits.
All 48th St. Collective tracks. I heard you have a vinyl of every The Music Machine record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Barry Ungar record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
Bob Dylan,
Roy Ayers,
Pantaleimon,
Danielle Patucci,
Patti Smith,
Peter & Gordon,
Rowland S Howard / Lydia Lunch,
Deadbeat,
Ultravox,
Joey Negro,
Notorious BIG live in Amsterdam,
Ash Ra Tempel,
Sällskapet,
Fad Gadget,
Ralphi Rosario,
Leonard Cohen,
June of 44,
Gang of Four,
Eyeless In Gaza,
F. McDonald,
Cymande,
Sun Ra Arkestra,
Pylon,
Eden Ahbez,
Steve Hackett,
Gerry Rafferty,
James Chance & The Contortions,
Aural Exciters,
The Peanut Butter Conspiracy,
Metal Thangz,
Bill Wells,
The Cramps,
Davy DMX,
The Motions,
Surgeon,
Jeff Mills,
B.T. Express,
Y Pants,
Echospace,
Accadde A,
Altered Images,
the Human League,
Cabaret Voltaire,
Ossler,
Rufus Thomas,
E-Dancer,
Boogie Down Productions,
The Invisible,
Matthew Halsall,
Mary Jane Girls,
Arab on Radar,
Juan Atkins,
World's Most,
Art Ensemble Of Chicago,
Major Organ And The Adding Machine,
Black Flag,
Mark Hollis,
Bobby Hutcherson,
Silicon Teens,
Sad Lovers and Giants,
Rotary Connection,
Wire,
The Standells, The Standells, The Standells, The Standells.
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.