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 London.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Jakarta and Bologna.
I'm losing my edge to the art-school Manila 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 snare 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 Black Pus to the grime kids.
I played it at the Astoria.
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 ABC. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every London Community Gospel Choir 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Fifty Foot Hose record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Henry Cow,
Livin' Joy,
B.T. Express,
Electric Prunes,
Steve Hackett,
Bill Near,
Porter Ricks,
Tubeway Army,
Avey Tare's Slasher Flicks,
Manfred Mann's Earth Band,
Eddi Front,
Gil Scott-Heron & Brian Jackson,
Basic Channel,
Fluxion,
Ash Ra Tempel,
Magazine,
Jimmy McGriff,
Tom Boy,
Iggy Pop,
James Chance & The Contortions,
Big Daddy Kane,
China Crisis,
Funkadelic,
Vladislav Delay,
Scion,
Interpol,
Sarah Menescal,
Prince Buster,
Das Ding,
Amazonics,
The Gladiators,
Barclay James Harvest,
Max Romeo,
Oneida,
Reagan Youth,
The Smoke,
Scientists,
The J.B.'s,
Andrew Hill,
Bobby Byrd,
DeepChord presents Echospace,
Crispian St. Peters,
Nick Cave & The Bad Seeds,
New Order,
In Retrospect,
Gregory Isaacs,
David Bowie,
Rod Modell,
Cal Tjader,
Boogie Down Productions,
The Wake,
Pole,
Talk Talk,
Lightning Bolt,
Ludus,
Dark Day,
Alison Limerick,
X-Ray Spex,
Spandau Ballet,
Cabaret Voltaire,
Amon Düül, Amon Düül, Amon Düül, Amon Düül.
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.