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 Liechtenstein and from Salvador.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1977.
I'm losing my edge.
To all the kids in Woodstock and Glasgow.
I'm losing my edge to the art-school Johannesburg 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 oboe 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 James Chance & The Contortions to the electroclash kids.
I played it at the Troubador.
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 Duran Duran. All the underground hits.
All Mars tracks. I heard you have a vinyl of every The Sonics record on German import.
I heard that you have a white label of every seminal techno 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 mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a JFA record.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Shoche,
Colin Newman,
Eric B and Rakim,
Vladislav Delay,
Dark Day,
Jeff Mills,
Throbbing Gristle,
Camberwell Now,
Anthony Braxton,
Nick Cave & The Bad Seeds,
Jacques Brel,
Amazonics,
Lafayette Afro Rock Band,
Sonny Sharrock,
Royal Trux,
Avey Tare's Slasher Flicks,
Sandy B,
Donald Byrd,
Terry Callier,
Maurizio,
China Crisis,
The Monks,
the Association,
Section 25,
Magma,
The Evens,
Main Source,
The Cowsills,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
James White and The Blacks,
Danielle Patucci,
The Litter,
Rhythm & Sound,
EPMD,
The Residents,
The Motions,
Boredoms,
Fear,
The Selecter,
Letta Mbulu,
LL Cool J,
The Leaves,
Isaac Hayes,
The Count Five,
Model 500,
Be Bop Deluxe,
Rufus Thomas,
Kenny Larkin,
Deakin,
Wally Richardson,
Bobbi Humphrey,
Janne Schatter,
Fifty Foot Hose,
Sonic Youth,
Rapeman,
The Slits,
Ken Boothe,
Tropical Tobacco,
Derrick May,
Massinfluence,
Sarah Menescal,
Guru Guru, Guru Guru, Guru Guru, Guru Guru.
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.