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 Spain and from Taipei.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Glasgow and Taipei.
I'm losing my edge to the art-school Sao Paulo 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 clarinet sounds with much patience.
I was there when Donald Fagen 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 Sisters of Mercy to the grunge kids.
I played it at the Roxy.
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 Tubeway Army. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every Pylon 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 '80s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Rites of Spring record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Desert Stars,
Gichy Dan,
The Young Rascals,
It's A Beautiful Day,
Kings Of Tomorrow,
Albert Ayler,
Crooked Eye,
Maleditus Sound,
Suburban Knight,
Howard Jones,
The Techniques,
Oblivians,
Joensuu 1685,
Franke,
The Barracudas,
DJ Style,
Letta Mbulu,
Scott Walker + Sunn O))),
Neil Young,
Lonnie Liston Smith,
K-Klass,
Jerry's Kids,
Scrapy,
Tomorrow,
Black Flag,
Saccharine Trust,
Gregory Isaacs,
The Divine Comedy,
FM Einheit,
Arthur Verocai,
Shuggie Otis,
Q and Not U,
Oppenheimer Analysis,
Sly & The Family Stone,
Robert Wyatt,
Davy DMX,
Lebanon Hanover,
Ten City,
Kerri Chandler,
The Names,
Intrusion,
Iggy Pop,
Bush Tetras,
Dorothy Ashby,
Hot Snakes,
Essential Logic,
The Gories,
Spandau Ballet,
The Human League,
Kango’s Stein Massive,
Absolute Body Control,
The Offenders,
The Standells,
Kool Moe Dee,
Cameo,
The Index,
Harry Pussy,
The Sisters of Mercy,
John Cale,
Cabaret Voltaire,
Adolescents,
La Düsseldorf,
Bootsy Collins, Bootsy Collins, Bootsy Collins, Bootsy Collins.
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.