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 Peru and from Manila.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Cairo and Calgary.
I'm losing my edge to the art-school Manila 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 harpsichord 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 Terrestrial Tones to the grime kids.
I played it at the Troubador.
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 Second Layer. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every Y Pants record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Notorious BIG live in Amsterdam record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Section 25,
Lou Christie,
Letta Mbulu,
The Techniques,
Monolake,
Kaleidoscope,
Derrick May,
Johnny Osbourne,
Eric Copeland,
Alphaville,
Quantec,
Tropical Tobacco,
Henry Cow,
Desert Stars,
Massinfluence,
Heaven 17,
The Men They Couldn't Hang,
This Heat,
The Happenings,
Juan Atkins,
Technova,
The Seeds,
A Certain Ratio,
Malaria!,
Brand Nubian,
Rotary Connection,
Siglo XX,
The Victims,
Skaos,
Trumans Water,
The Associates,
Al Stewart,
Man Parrish,
Sun Ra,
Khruangbin,
Fear,
Eli Mardock,
Strawberry Alarm Clock,
Manfred Mann's Earth Band,
Gichy Dan,
Robert Wyatt,
Ludus,
Alice Coltrane,
Camouflage,
Hot Snakes,
Minutemen,
Nirvana,
Pierre Henry,
Visionaries,LMNO, T- Love & Iriscience,
The Motions,
Barbara Tucker,
the Swans,
Newcleus,
David Axelrod,
Scratch Acid,
The Evens,
Slick Rick,
Louis and Bebe Barron,
Nico,
Magazine,
Urselle,
The Fall,
Porter Ricks, Porter Ricks, Porter Ricks, Porter Ricks.
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.