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 Greece and from Mexico City.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Madrid and Lagos.
I'm losing my edge to the art-school Beijing 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 808 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 Ken Boothe to the dance kids.
I played it at Cafe Wha.
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 Eve St. Jones. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Joensuu 1685 record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
Suicide,
Oneida,
Talk Talk,
Flash Fearless,
Eric Copeland,
John Coltrane,
Deakin,
Thompson Twins,
Fad Gadget,
8 Eyed Spy,
Pete Rock & C.L. Smooth,
Patti Smith,
T. Rex,
Pharaoh Sanders and the Fire Engines,
Skarface,
Girls At Our Best!,
The Golliwogs,
Jesper Dahlbäck,
The West Coast Pop Art Experimental Band,
Lou Christie,
Steve Hackett,
Japan,
Aaron Thompson,
the Soft Cell,
Glambeats Corp.,
The Selecter,
Bobby Byrd,
Grey Daturas,
The Cramps,
Wire,
the Association,
New Age Steppers,
Ituana,
Joensuu 1685,
Pylon,
Davy DMX,
Jerry Gold Smith,
Lebanon Hanover,
The Searchers,
Be Bop Deluxe,
the Sonics,
Q65,
Erykah Badu,
The Evens,
John Cale,
Kurtis Blow,
Mantronix,
David Axelrod,
Circle Jerks,
Pierre Henry,
the Slits,
Ash Ra Tempel,
The Blues Magoos,
Gil Scott-Heron and Jamie xx,
Lakeside,
Kaleidoscope,
Barrington Levy,
Lyres,
Visage,
Tim Buckley,
Camberwell Now, Camberwell Now, Camberwell Now, Camberwell Now.
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.