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 Argentina and from Madrid.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Lille and Paris.
I'm losing my edge to the art-school Johannesburg 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 spring reverb 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 The Remains to the grime 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 Fifty Foot Hose. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every Don Cherry record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
The Slits,
Robert Görl,
The Dirtbombs,
Nas,
Loose Ends,
Bootsy's Rubber Band,
The Star Department,
Inner City,
John Foxx,
Cecil Taylor,
Drive Like Jehu,
Lafayette Afro Rock Band,
Magma,
Minny Pops,
Grandmaster Flash,
Public Enemy,
Don Cherry,
The Barracudas,
Echospace,
DNA,
Sarah Menescal,
Tomorrow,
The Blues Magoos,
Super Lover Cee & Casanova Rud,
Sad Lovers and Giants,
UT,
Deakin,
Kenny Larkin,
The Selecter,
Selector Dub Narcotic,
The Cure,
Kool Moe Dee,
Crime,
Unrelated Segments,
Laurel Aitken,
Make Up,
DJ Sneak,
Visage,
Wasted Youth,
Nation of Ulysses,
Notorious Big And Bone Thugs,
Monks,
Harry Pussy,
Groovy Waters,
The Skatalites,
Ohio Players,
Rakim,
Sun Ra Arkestra,
Masters at Work,
Agitation Free,
David McCallum,
London Community Gospel Choir,
Jeff Lynne,
New York Dolls,
Heavy D & The Boyz,
Sparks,
Bad Manners,
Jesper Dahlbäck,
the Association,
Steve Hackett,
Hardrive,
The Associates, The Associates, The Associates, The Associates.
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.