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 Guatemala and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1968 to 1970.
I'm losing my edge.
To all the kids in Milan and Delhi.
I'm losing my edge to the art-school Hong Kong 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 1968 at the first Can practice in a loft in Cologne.
I was working on the synthesizer 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 Soul II Soul to the dance 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 Tim Buckley. All the underground hits.
All Funky Four + One tracks. I heard you have a vinyl of every Aaron Thompson record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Mills,
Scott Walker,
Skaos,
Sparks,
Curtis Mayfield,
Susan Cadogan,
Peter & Gordon,
Rhythm & Sound,
The Black Dice,
Eric Dolphy,
Alison Limerick,
Joensuu 1685,
The Men They Couldn't Hang,
Y Pants,
Freddie Wadling,
Marine Girls,
Easy Going,
the Bar-Kays,
Chris & Cosey,
Bob Dylan,
James White and The Blacks,
DNA,
The Cosmic Jokers,
The Index,
Niagra,
Siouxsie and the Banshees,
Symarip,
Infiniti,
Warsaw,
MC5,
Gang Gang Dance,
The Associates,
Sam Rivers,
Arab on Radar,
Selector Dub Narcotic,
Scan 7,
Gian Franco Pienzio,
The Knickerbockers,
Bootsy's Rubber Band,
It's A Beautiful Day,
Ajijia Myrayebe,
Lou Reed,
Aloha Tigers,
Pulsallama,
Matthew Bourne,
cv313,
Japan,
Jandek,
Eurythmics,
Matthew Halsall,
Los Fastidios,
Ossler,
Jeff Lynne,
Black Sheep,
Qualms,
Zero Boys,
Fad Gadget,
Glambeats Corp.,
Inner City,
Alphaville,
Bush Tetras,
Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282.
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.