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 Belarus and from Accra.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1966 to 1979.
I'm losing my edge.
To all the kids in Houston and Cairo.
I'm losing my edge to the art-school Seoul 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 guitar sounds with much patience.
I was there when Captain Beefheart 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 Robert Görl to the rap kids.
I played it at the Hacienda.
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 Sonic Youth. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Major Organ And The Adding Machine 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 '50s cut and another box set from the '90s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Public Enemy,
Kaleidoscope,
Black Sheep,
Stereo Dub,
Crispy Ambulance,
Anthony Braxton,
Dave Gahan,
Arcadia,
Adolescents,
E-Dancer,
The Pop Group,
Bronski Beat,
Television,
Loose Ends,
Organ,
Siouxsie and the Banshees,
Ajijia Myrayebe,
The Invisible,
Duran Duran,
Boredoms,
Gichy Dan,
Von Mondo,
Graham Central Station,
the Bar-Kays,
Lonnie Liston Smith,
Johnny Osbourne,
the Fania All-Stars,
Judy Mowatt,
Youth Brigade,
Chris Corsano,
Porter Ricks,
D'Angelo,
Aaron Thompson,
Louis and Bebe Barron,
Masters at Work,
Mission of Burma,
Nation of Ulysses,
Delon & Dalcan,
Juan Atkins,
Eddi Front,
Brick,
The Techniques,
Joey Negro,
Erasure,
Moss Icon,
Depeche Mode,
Absolute Body Control,
Amon Düül,
Avey Tare & Kría Brekkan,
Roger Hodgson,
The Five Americans,
Mark Hollis,
Eve St. Jones,
Joyce Sims,
Archie Shepp,
Stiv Bators,
Eden Ahbez,
Lebanon Hanover,
The Flesh Eaters,
Audionom,
Sparks,
The Electric Prunes,
Sister Nancy, Sister Nancy, Sister Nancy, Sister Nancy.
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.