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 Moldova and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1977.
I'm losing my edge.
To all the kids in Cairo and Beijing.
I'm losing my edge to the art-school Edmonton 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 snare 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 Rapeman to the electroclash kids.
I played it at Cafe Wha.
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 Selecter. All the underground hits.
All Basic Channel tracks. I heard you have a vinyl of every Red Lorry Yellow Lorry record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare's Slasher Flicks record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crispian St. Peters,
E-Dancer,
Zero Boys,
Curtis Mayfield,
Amon Düül,
PIL,
Major Organ And The Adding Machine,
Rufus Thomas,
The Gun Club,
Eric Dolphy,
The Tremeloes,
Swell Maps,
Ajijia Myrayebe,
Sonny Sharrock,
Althea and Donna,
Massinfluence,
The Vogues,
Marmalade,
Severed Heads,
The Dead C,
Röyhkä ja Rättö ja Lehtisalo,
Thinking Fellers Union Local 282,
Metal Thangz,
Black Flag,
Colin Newman,
Lou Christie,
Lalo Schifrin,
Ultramagnetic MC's,
Country Teasers,
Kas Product,
Bobbi Humphrey,
James White and The Blacks,
The Golliwogs,
Marshall Jefferson,
Isaac Hayes,
June of 44,
Archie Shepp,
The Associates,
The Blues Magoos,
Art Ensemble Of Chicago,
B.T. Express,
Electric Prunes,
Loose Ends,
Bill Near,
Carl Craig,
The Misunderstood,
Interpol,
The Searchers,
Eden Ahbez,
Pussy Galore,
Ash Ra Tempel,
Wighnomy Brothers & Robag Wruhme,
The Offenders,
The Residents,
Monks,
Audionom,
The Cosmic Jokers,
Cal Tjader,
Quando Quango,
Infiniti,
Siouxsie and the Banshees,
Duran Duran,
Johnny Clarke, Johnny Clarke, Johnny Clarke, Johnny Clarke.
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.