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 the UAE and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1970.
I'm losing my edge.
To all the kids in Stockholm and New York.
I'm losing my edge to the art-school Seoul 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Sisters of Mercy to the crunk 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 L. Decosne. All the underground hits.
All Richard Hell and the Voidoids tracks. I heard you have a vinyl of every The Toasters 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 '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Selecter,
Iggy Pop,
Vladislav Delay,
Rites of Spring,
Pylon,
Sound Behaviour,
Stiv Bators,
Minor Threat,
Matthew Halsall,
Vaughan Mason & Crew,
Arcadia,
Buzzcocks,
Gang of Four,
Jesper Dahlbäck,
Teenage Jesus and the Jerks,
Heaven 17,
Ultravox,
Visage,
Yellowson,
Organ,
Howard Jones,
Bootsy Collins,
Gregory Isaacs,
Curtis Mayfield,
Rowland S Howard / Lydia Lunch,
The Music Machine,
Dennis Brown,
48th St. Collective,
The Red Krayola,
Don Cherry,
Lyres,
The Toasters,
MDC,
Black Moon,
R.M.O.,
Lindisfarne,
Gary Puckett & The Union Gap,
Sexual Harrassment,
The Moody Blues,
Joy Division,
CMW,
Rakim,
Wally Richardson,
Eddi Front,
Nirvana,
Sun Ra,
T. Rex,
The Detroit Cobras,
Donald Byrd,
Faraquet,
The Dirtbombs,
Japan,
Gil Scott-Heron & Brian Jackson,
Jacques Brel,
Tommy Roe,
A Certain Ratio,
Minny Pops,
Oblivians,
Circle Jerks,
Half Japanese,
Justin Hinds & The Dominoes,
Joe Finger,
Scott Walker,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.