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 Lagos.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Cairo and Portland.
I'm losing my edge to the art-school Tehran 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 chamberlin 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 The Velvet Underground to the dance 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 Avey Tare. All the underground hits.
All The Count Five 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 electroclash 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 clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Golliwogs record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Almond,
Zapp,
The Techniques,
Arthur Verocai,
KRS-One,
Crispy Ambulance,
Bobby Sherman,
DeepChord presents Echospace,
Robert Hood,
Liliput,
Monks,
The Cowsills,
Jesper Dahlbäck,
Richard Hell and the Voidoids,
The Cosmic Jokers,
Sun Ra,
June Days,
Minny Pops,
Section 25,
Fear,
Black Moon,
Sugar Minott,
London Community Gospel Choir,
The Men They Couldn't Hang,
Pierre Henry,
Be Bop Deluxe,
Grey Daturas,
Dr. Dre and Snoop Doggy Dog,
X-Ray Spex,
Jimmy McGriff,
T.S.O.L.,
Sight & Sound,
The Slits,
Yaz,
The Mojo Men,
Dark Day,
Judy Mowatt,
Magma,
The Golliwogs,
Qualms,
The Fall,
Nick Fraelich,
Roxette,
Trumans Water,
Andrew Ashong & Theo Parrish,
Donald Byrd,
Public Image Ltd.,
Surgeon,
Boz Scaggs,
Mad Mike,
Rapeman,
Lalo Schifrin,
Angry Samoans,
Tubeway Army,
Pharaoh Sanders and the Fire Engines,
Ohio Players,
The Shadows of Knight,
Bizarre Inc.,
Pylon,
Deakin,
Scrapy,
The Neon Judgement,
The Sound,
Half Japanese,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.