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 Turkmenistan and from Paris.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Mexico City.
I'm losing my edge to the art-school Woodstock 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 chamberlin sounds with much patience.
I was there when David Bowie 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 Glenn Branca to the dance 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 Donald Byrd. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Zero Boys record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pussy Galore,
Stetsasonic,
The Remains,
The Cure,
Soul II Soul,
Fad Gadget,
Grandmaster Flash and the Furious Five,
Tom Boy,
Scan 7,
Robert Hood,
Black Bananas,
The Moleskins,
Heaven 17,
Eden Ahbez,
Skaos,
Henry Cow,
Marine Girls,
Charles Mingus,
Fear,
L. Decosne,
In Retrospect,
Throbbing Gristle,
Siglo XX,
Von Mondo,
The Velvet Underground,
The Black Dice,
Fat Boys,
Young Marble Giants,
Gichy Dan,
Eyeless In Gaza,
Eric Copeland,
Gang Gang Dance,
Accadde A,
Laurel Aitken,
Mars,
James Chance & The Contortions,
Juan Atkins,
Eli Mardock,
The Saints,
New York Dolls,
Michelle Simonal,
Barbara Tucker,
The Sisters of Mercy,
B.T. Express,
Yaz,
Model 500,
Cabaret Voltaire,
cv313,
Pole,
Monks,
The Beau Brummels,
Brand Nubian,
Spoonie Gee,
The Searchers,
E-Dancer,
The Gap Band,
Metal Thangz,
Half Japanese,
The Golliwogs,
OOIOO,
Mission of Burma,
The Gun Club, The Gun Club, The Gun Club, The Gun Club.
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.