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 Panama and from Salvador.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Shanghai.
I'm losing my edge to the art-school Columbus 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 sitar 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 Soft Cell 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 The Young Rascals. All the underground hits.
All Can tracks. I heard you have a vinyl of every Pere Ubu 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 '70s cut and another box set from the '90s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Clear Light record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tomorrow,
Bobby Sherman,
Notorious BIG live in Amsterdam,
Funky Four + One,
The Monks,
Anthony Braxton,
The Residents,
Roy Ayers Ubiquity,
Sixth Finger,
Peter and Kerry,
Peter & Gordon,
The Young Rascals,
Bootsy Collins,
Grandmaster Flash,
James White and The Blacks,
Public Image Ltd.,
The Gories,
Stetsasonic,
JFA,
The Evens,
Soft Cell,
Flipper,
Sex Pistols,
Dave Gahan,
L. Decosne,
The Men They Couldn't Hang,
Soft Machine,
Bill Near,
Sexual Harrassment,
Zero Boys,
The Velvet Underground,
Excepter,
Technova,
R.M.O.,
Black Moon,
Lower 48,
Mandrill,
Deepchord,
Bluetip,
Sun Ra Arkestra,
John Lydon,
The Blackbyrds,
Goldenarms,
Q65,
Cecil Taylor,
Prince Buster,
Jerry Gold Smith,
Radiohead,
Brass Construction,
8 Eyed Spy,
Symarip,
Fugazi,
Kevin Saunderson,
Ten City,
Fatback Band,
Erasure,
Gil Scott-Heron & Brian Jackson,
Patti Smith,
The American Breed,
Bobby Womack,
These Immortal Souls,
The Slackers,
Junior Murvin,
Franke, Franke, Franke, Franke.
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.