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 New Zealand and from Copenhagen.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Manchester and Halifax.
I'm losing my edge to the art-school Sao Paulo 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Skarface to the grime kids.
I played it at Trash.
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 Jesper Dahlback. All the underground hits.
All Sugar Minott tracks. I heard you have a vinyl of every Sound Behaviour 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Black Pus record.
I hear that you and your band have sold your theremin and bought an organ.
I hear that you and your band have sold your organ and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
Wighnomy Brothers & Robag Wruhme,
Mars,
Circle Jerks,
Camberwell Now,
Maleditus Sound,
Oppenheimer Analysis,
Schoolly D,
Main Source,
Liliput,
Hardrive,
Siouxsie and the Banshees,
Gian Franco Pienzio,
David Axelrod,
Von Mondo,
Marshall Jefferson,
Gang of Four,
Wire,
The Alarm Clocks,
Country Teasers,
Interpol,
Crash Course in Science,
Toni Rubio,
Magma,
The Blues Magoos,
Laurel Aitken,
Radiopuhelimet,
Dawn Penn,
E-Dancer,
Notorious BIG live in Amsterdam,
The Searchers,
Fear,
Pulsallama,
The Techniques,
Cameo,
Joy Division,
The Men They Couldn't Hang,
The Offenders,
Minor Threat,
Max Romeo,
Lalann,
Mr. Review,
Public Enemy,
Art Ensemble Of Chicago,
The Cosmic Jokers,
Colin Newman,
Guru Guru,
Fad Gadget,
Lou Reed & John Cale,
The Music Machine,
Oblivians,
Matthew Halsall,
Lafayette Afro Rock Band,
Tommy Roe,
Avey Tare's Slasher Flicks,
Technova,
Deutsch Amerikanische Freundschaft,
The Birthday Party,
10cc,
Bootsy Collins,
Youth Brigade,
Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive.
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.