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 Burkina and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1979.
I'm losing my edge.
To all the kids in Lagos and Columbus.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the mellotron 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 Iggy Pop to the rap kids.
I played it at the Spitz.
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 London Community Gospel Choir. All the underground hits.
All Piero Umiliani tracks. I heard you have a vinyl of every H. Thieme 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 '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Leonard Cohen record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lafayette Afro Rock Band,
Rhythm & Sound,
The Monks,
Kayak,
Oblivians,
Freddie Wadling,
The Mojo Men,
EPMD,
Amon Düül II,
JFA,
Pole,
Rosa Yemen,
Pussy Galore,
Royal Trux,
Ronan,
De La Soul & Jungle Brothers,
Angels of Light & Akron/Family,
The Moleskins,
Gang Green,
Young Marble Giants,
Skriet,
Jacob Miller,
The Cosmic Jokers,
Sad Lovers and Giants,
Grauzone,
Morten Harket,
The Cure,
The Skatalites,
The Peanut Butter Conspiracy,
Lou Reed & John Cale,
Black Bananas,
Symarip,
UT,
Tom Boy,
The Fuzztones,
Theoretical Girls,
Sarah Menescal,
The Dave Clark Five,
Desert Stars,
The Gories,
Nils Olav,
The Fortunes,
Avey Tare,
DNA,
The Chocolate Watch Band,
Captain Beefheart & His Magic Band,
Duran Duran,
Todd Rundgren,
Funkadelic,
Howard Jones,
Eli Mardock,
Mars,
Lou Reed & Metallica,
Stiv Bators,
Barbara Tucker,
Amon Düül,
Nation of Ulysses,
Johnny Osbourne,
Anthony Braxton,
Black Pus,
Bobby Byrd,
Brick, Brick, Brick, Brick.
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.