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 Denmark and from Tokyo.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Delhi.
I'm losing my edge to the art-school Cairo 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 organ 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 Kauko Röyhkä ja Narttu to the disco 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 Ultimate Spinach. All the underground hits.
All Frankie Knuckles tracks. I heard you have a vinyl of every Cluster 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 '60s cut and another box set from the '70s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a New York Dolls record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Yazoo,
In Retrospect,
Roxette,
The Evens,
Carl Craig,
Morten Harket,
Bad Manners,
The United States of America,
X-102,
The Invisible,
Sam Rivers,
Slave,
The Wake,
Lou Christie,
Reuben Wilson,
The Beau Brummels,
Cal Tjader,
Kango’s Stein Massive,
Yellowson,
Kerrie Biddell,
The Last Poets,
Kenny Larkin,
Television,
Neil Young,
Lou Reed & John Cale,
Grauzone,
Fifty Foot Hose,
Half Japanese,
The Jesus and Mary Chain,
The Count Five,
Excepter,
a-ha,
Television Personalities,
Radio Birdman,
Hoover,
Skarface,
Wings,
Oneida,
The Index,
Bizarre Inc.,
Drexciya,
Pete Rock & C.L. Smooth,
KRS-One,
Sister Nancy,
Brick,
Sandy B,
Jeff Mills,
Wighnomy Brothers & Robag Wruhme,
Laurel Aitken,
Juan Atkins,
Hashim,
Cybotron,
Moebius,
Todd Terry,
the Germs,
Masters at Work,
Metal Thangz,
Barbara Tucker,
X-Ray Spex,
Graham Central Station,
The Raincoats,
Urselle, Urselle, Urselle, Urselle.
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.