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 Uzbekistan and from Copenhagen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Calgary and Glasgow.
I'm losing my edge to the art-school Spokane 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 linndrum sounds with much patience.
I was there when Robert Palmer 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 Albert Ayler to the funk 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 Pole. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every Glambeats Corp. record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Sherman record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Von Mondo,
Ajijia Myrayebe,
Neu!,
Crash Course in Science,
Traffic Nightmare,
Marc Almond,
The Associates,
Black Pus,
Siglo XX,
Ronan,
Pharaoh Sanders and the Fire Engines,
Urselle,
Marine Girls,
Marshall Jefferson,
Bill Wells,
The Happenings,
Ten City,
Radio Birdman,
Beasts of Bourbon,
June of 44,
James White and The Blacks,
Major Organ And The Adding Machine,
Accadde A,
Sight & Sound,
Siouxsie and the Banshees,
Suicide,
Soul II Soul,
Kauko Röyhkä ja Narttu,
Eric Copeland,
KRS-One,
Peter Gordon & Love of Life Orchestra,
Albert Ayler,
Minor Threat,
Scott Walker,
Wally Richardson,
Liaisons Dangereuses,
Teenage Jesus and the Jerks,
Nation of Ulysses,
The Cramps,
Swans,
Trumans Water,
Strawberry Alarm Clock,
Alphaville,
Johnny Osbourne,
Byron Stingily,
Eyeless In Gaza,
Gang Gang Dance,
Pulsallama,
Nick Cave & The Bad Seeds,
Curtis Mayfield,
DJ Sneak,
Scott Walker + Sunn O))),
Dawn Penn,
Wasted Youth,
Electric Prunes,
X-101,
Joe Smooth,
Q and Not U,
Susan Cadogan,
Tim Buckley,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
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.