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 Rwanda and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1976.
I'm losing my edge.
To all the kids in London and Edmonton.
I'm losing my edge to the art-school Bologna 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 1973 at the first Television practice in a loft in New York.
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 Rhythm & Sound to the jazz 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 Louis and Bebe Barron. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every Albert Ayler 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 '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Lynne record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Avey Tare & Kría Brekkan,
Country Teasers,
Henry Cow,
Echospace,
The Pretty Things,
the Soft Cell,
Supertramp,
The United States of America,
Lonnie Liston Smith,
Bobby Sherman,
Blake Baxter,
Graham Central Station,
Marine Girls,
Deutsch Amerikanische Freundschaft,
Major Organ And The Adding Machine,
Byron Stingily,
Max Romeo,
The Fortunes,
John Lydon,
Infiniti,
Fat Boys,
Bobbi Humphrey,
Ossler,
Nirvana,
Michelle Simonal,
Andrew Ashong & Theo Parrish,
Scion,
Malaria!,
Oblivians,
JFA,
Niagra,
Mandrill,
Stiv Bators,
Drexciya,
John Coltrane,
Colin Newman,
Whodini,
Boogie Down Productions,
Agitation Free,
Black Flag,
Nas,
The Monochrome Set,
The Selecter,
Lou Reed & Metallica,
Kauko Röyhkä ja Narttu,
A Flock of Seagulls,
David Axelrod,
Minnie Riperton,
The Trojans,
Eve St. Jones,
The West Coast Pop Art Experimental Band,
Excepter,
La Düsseldorf,
The Fall,
The Walker Brothers,
Porter Ricks,
Electric Light Orchestra,
The Kinks,
Tres Demented,
Al Stewart,
Robert Hood,
Hardrive, Hardrive, Hardrive, Hardrive.
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.