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 Malta and from Lyon.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1979.
I'm losing my edge.
To all the kids in Portland and Houston.
I'm losing my edge to the art-school Paris 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Parry Music to the dance 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 Funkadelic. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every Nils Olav record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Skriet record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed & Metallica,
Quantec,
Grauzone,
The Moody Blues,
Nas,
Faraquet,
X-101,
Shoche,
Henry Cow,
The Raincoats,
Television,
Sly & The Family Stone,
Be Bop Deluxe,
Tres Demented,
Bad Manners,
Unwound,
Lou Reed,
Ash Ra Tempel,
Fugazi,
Delon & Dalcan,
Alison Limerick,
Sun City Girls,
Susan Cadogan,
Country Teasers,
Crispy Ambulance,
Larry & the Blue Notes,
Aaron Thompson,
Ultravox,
Pantytec,
Max Romeo,
Magazine,
Scientists,
Black Sheep,
Clear Light,
New Order,
T.S.O.L.,
Slave,
Wire,
Symarip,
Morten Harket,
Todd Rundgren,
Derrick May,
the Soft Cell,
The Kinks,
Ken Boothe,
Nick Cave & The Bad Seeds,
Flash Fearless,
Monolake,
X-102,
Rufus Thomas,
Kenny Larkin,
Pylon,
T. Rex,
The Stooges,
Pharoah Sanders,
Roy Ayers,
Frankie Knuckles,
The Alarm Clocks,
Neu!,
Wally Richardson,
Robert Görl,
The Martian,
The American Breed, The American Breed, The American Breed, The American Breed.
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.