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 Macedonia and from Accra.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Manchester and Philadelphia.
I'm losing my edge to the art-school Woodstock 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 Donald Fagen 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 James Chance & The Contortions to the rap kids.
I played it at the 40 Watt.
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 Zero Boys. All the underground hits.
All Scratch Acid tracks. I heard you have a vinyl of every Scion 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 '80s cut and another box set from the '80s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
Jacques Brel,
The Selecter,
Deakin,
The Divine Comedy,
The Vogues,
Sun Ra Arkestra,
Kango’s Stein Massive,
Sunsets and Hearts,
Pere Ubu,
Robert Wyatt,
Man Parrish,
Pet Shop Boys,
Easy Going,
Nils Olav,
Au Pairs,
Lindisfarne,
The Blackbyrds,
Eddi Front,
Bush Tetras,
Curtis Mayfield,
Mr. Review,
Laurel Aitken,
Mission of Burma,
The Residents,
Unwound,
Kerrie Biddell,
The Mojo Men,
Cybotron,
June Days,
Heaven 17,
Al Stewart,
Whodini,
Sandy B,
Lyres,
The Doors,
Fluxion,
Fear,
Juan Atkins,
The Happenings,
The Royal Family And The Poor,
Be Bop Deluxe,
Goldenarms,
Rahsaan Roland Kirk,
Television,
The Peanut Butter Conspiracy,
Chris & Cosey,
Procol Harum,
Television Personalities,
Skarface,
John Foxx,
Lightning Bolt,
Hot Snakes,
PIL,
Justin Hinds & The Dominoes,
The Human League,
Scott Walker,
MC5,
Little Man,
Fad Gadget,
Smog, Smog, Smog, Smog.
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.