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 Togo and from Halifax.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1977.
I'm losing my edge.
To all the kids in Columbus and Tehran.
I'm losing my edge to the art-school Stockholm 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 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 Jandek to the dance 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 Jesper Dahlbäck. All the underground hits.
All Monks tracks. I heard you have a vinyl of every Roy Ayers record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Scion record.
I hear that you and your band have sold your organ and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Romboy vs. Booka Shade,
Pierre Henry,
Livin' Joy,
Index,
Byron Stingily,
Lou Reed & John Cale,
JFA,
Howard Jones,
The Beau Brummels,
Shuggie Otis,
Marmalade,
The Index,
This Heat,
Basic Channel,
The Slackers,
Terry Callier,
KRS-One,
Simply Red,
Mission of Burma,
Pole,
The Fugs,
Lyres,
Cameo,
The Monks,
Lungfish,
Terrestrial Tones,
Das Ding,
Slave,
Bobby Hutcherson,
Be Bop Deluxe,
Porter Ricks,
Buzzcocks,
Japan,
Bizarre Inc.,
Negative Approach,
the Slits,
Alison Limerick,
A Certain Ratio,
Amazonics,
Kurtis Blow,
Can,
Jerry's Kids,
Maleditus Sound,
Radiohead,
Charles Mingus,
Model 500,
Ludus,
L. Decosne,
Crooked Eye,
Mantronix,
The Mummies,
Sunsets and Hearts,
Fatback Band,
Swell Maps,
The Kinks,
Sexual Harrassment,
K-Klass,
Deutsch Amerikanische Freundschaft,
The Royal Family And The Poor,
The Men They Couldn't Hang,
The Birthday Party,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.