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 Serbia and from Tokyo.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Lyon and Spokane.
I'm losing my edge to the art-school Calgary 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 sitar 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 Lindisfarne to the techno 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 Half Japanese. All the underground hits.
All Tubeway Army tracks. I heard you have a vinyl of every Chrome 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 '70s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Spandau Ballet record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ralphi Rosario,
Magazine,
Jacques Brel,
Lyres,
Skarface,
Rod Modell,
Pierre Henry,
Yazoo,
John Cale,
The Gladiators,
The Velvet Underground,
Pet Shop Boys,
Wolf Eyes,
Max Romeo,
Jandek,
Theoretical Girls,
The Offenders,
Rosa Yemen,
The Slackers,
Strawberry Alarm Clock,
Second Layer,
Reagan Youth,
Tom Boy,
Index,
The Barracudas,
Kauko Röyhkä ja Narttu,
Scion,
China Crisis,
Bluetip,
Sugar Minott,
Pole,
Ituana,
Intrusion,
The Gun Club,
Gastr Del Sol,
The Toasters,
Aural Exciters,
Maleditus Sound,
Sun Ra,
Roxette,
The Beau Brummels,
Kenny Larkin,
Letta Mbulu,
10cc,
Mandrill,
Bizarre Inc.,
Carl Craig,
X-102,
Vainqueur,
These Immortal Souls,
The Fire Engines,
Cabaret Voltaire,
Crooked Eye,
Hoover,
Gian Franco Pienzio,
Nik Kershaw,
The Cosmic Jokers,
Sunsets and Hearts,
Pussy Galore,
Dorothy Ashby,
Duran Duran,
Avey Tare,
Los Fastidios,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.