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 Zambia and from Tehran.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Lille and New York.
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 linndrum sounds with much patience.
I was there when Donald Fagen 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 Red Lorry Yellow Lorry to the jazz 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 The Move. All the underground hits.
All Fad Gadget tracks. I heard you have a vinyl of every Black Flag 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Pylon,
New York Dolls,
Delon & Dalcan,
Wolf Eyes,
Aaron Thompson,
The Durutti Column,
the Slits,
The Cramps,
Quantec,
Saccharine Trust,
The Electric Prunes,
The Dirtbombs,
Ohio Players,
Terror Squad Feat. Camron,
Archie Shepp,
Gang Starr,
Camouflage,
Dual Sessions,
Silicon Teens,
Henry Cow,
Camron Feat. Jay Z And Juelz,
X-101,
Grandmaster Flash,
Young Marble Giants,
Blancmange,
Ornette Coleman,
Mad Mike,
Pussy Galore,
The Gladiators,
James Chance & The Contortions,
Masters at Work,
Amon Düül,
Rufus Thomas,
Pierre Henry,
Public Image Ltd.,
Frankie Knuckles,
Moebius,
Mark Hollis,
Deutsch Amerikanische Freundschaft,
Avey Tare's Slasher Flicks,
The Remains,
Kerri Chandler,
Cluster,
Don Cherry,
Scientists,
Orchestral Manoeuvres in the Dark,
Jawbox,
Wally Richardson,
B.T. Express,
Rekid,
Jesper Dahlback,
Depeche Mode,
Arthur Verocai,
The Peanut Butter Conspiracy,
Soft Machine,
R.M.O.,
Motorama,
Arab on Radar,
Stiv Bators,
Talk Talk,
La Düsseldorf,
The Walker Brothers,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.