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 Germany and from Halifax.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Bologna and Manila.
I'm losing my edge to the art-school Lyon 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 808 sounds with much patience.
I was there when David Bowie 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 Main Source to the funk kids.
I played it at the Crocodile.
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 Camberwell Now. All the underground hits.
All Agent Orange tracks. I heard you have a vinyl of every Stockholm Monsters record on German import.
I heard that you have a white label of every seminal techno 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 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Unwound record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fugazi,
The Victims,
Richard Hell and the Voidoids,
The Music Machine,
Sam Rivers,
Thee Headcoats,
DJ Style,
Camron Feat. Memphis Bleek And Beenie Seigel,
the Association,
Be Bop Deluxe,
Major Organ And The Adding Machine,
Pylon,
The Moleskins,
Shuggie Otis,
Joe Finger,
The Tremeloes,
Inner City,
Rufus Thomas,
R.M.O.,
The Smiths,
Don Cherry,
Letta Mbulu,
Todd Rundgren,
Prince Buster,
De La Soul & Jungle Brothers,
The Vogues,
The Detroit Cobras,
Echospace,
CMW,
LL Cool J,
Stiv Bators,
Marshall Jefferson,
Joey Negro,
Pharoah Sanders,
Michelle Simonal,
Buzzcocks,
The Zeros,
Radio Birdman,
The Raincoats,
Orchestral Manoeuvres in the Dark,
Reagan Youth,
Soft Cell,
Technova,
One Last Wish,
Maurizio,
Urselle,
Piero Umiliani,
Sister Nancy,
Lalann,
Eve St. Jones,
Marine Girls,
Kango’s Stein Massive,
Justin Hinds & The Dominoes,
Todd Terry,
Silicon Teens,
Dead Boys,
World's Most,
Surgeon,
Television Personalities,
Kauko Röyhkä ja Narttu,
Larry & the Blue Notes,
The Walker Brothers,
The Toasters, The Toasters, The Toasters, The Toasters.
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.