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 Botswana and from New York.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Houston and Jakarta.
I'm losing my edge to the art-school Portland 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Smog to the punk kids.
I played it at the 40 Watt.
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 United States of America. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every The Black Dice record on German import.
I heard that you have a white label of every seminal jazz 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 mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Neil Young & Crazy Horse record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Cale,
The Trojans,
Terrestrial Tones,
Parry Music,
Q and Not U,
Michelle Simonal,
Echospace,
Fluxion,
Gichy Dan,
Electric Prunes,
The Toasters,
Stockholm Monsters,
Dawn Penn,
The Moody Blues,
The Pretty Things,
Mad Mike,
Rites of Spring,
Roy Ayers Ubiquity,
Circle Jerks,
Little Man,
cv313,
Röyhkä ja Rättö ja Lehtisalo,
the Association,
The Gap Band,
Larry & the Blue Notes,
The United States of America,
Todd Terry,
Shoche,
Talk Talk,
Danielle Patucci,
Curtis Mayfield,
John Coltrane,
The Monochrome Set,
Outsiders,
Eve St. Jones,
Rahsaan Roland Kirk,
Harmonia,
Archie Shepp,
Urselle,
The Detroit Cobras,
Sex Pistols,
Radiohead,
Flamin' Groovies,
Black Sheep,
The Fugs,
Althea and Donna,
Das Ding,
Sad Lovers and Giants,
Flash Fearless,
Buzzcocks,
Zapp,
Bootsy Collins,
Camberwell Now,
Wighnomy Brothers & Robag Wruhme,
The Shadows of Knight,
Matthew Bourne,
Adolescents,
Bronski Beat,
Royal Trux,
Dual Sessions,
Ultravox,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.