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 Uruguay and from Houston.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Stockholm and Beijing.
I'm losing my edge to the art-school Mumbai 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 snare sounds with much patience.
I was there when Captain Beefheart 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 Robert Görl to the jazz kids.
I played it at the Hacienda.
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 Cymande. All the underground hits.
All Monolake tracks. I heard you have a vinyl of every Inner City record on German import.
I heard that you have a white label of every seminal electroclash 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 linndrum and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camberwell Now,
The Fire Engines,
A Flock of Seagulls,
The Martian,
the Bar-Kays,
Selector Dub Narcotic,
Saccharine Trust,
The Modern Lovers,
Jawbox,
Mad Mike,
F. McDonald,
The New Christs,
The Mighty Diamonds,
Sad Lovers and Giants,
Prince Buster,
Joensuu 1685,
The Golliwogs,
Essential Logic,
The Divine Comedy,
Nils Olav,
Shuggie Otis,
The Durutti Column,
Rakim,
Radio Birdman,
Eric Dolphy,
Fad Gadget,
Banda Bassotti,
Excepter,
Dave Gahan,
Donny Hathaway,
Steve Hackett,
X-102,
EPMD,
Drive Like Jehu,
The Real Kids,
Gil Scott Heron,
Stiv Bators,
Supertramp,
New York Dolls,
Franke,
Simply Red,
Danielle Patucci,
Marc Romboy vs. Booka Shade,
Warsaw,
The Techniques,
Lou Reed & Metallica,
The Sisters of Mercy,
Scott Walker,
Sexual Harrassment,
Terrestrial Tones,
Ludus,
Talk Talk,
Ronnie Foster,
Fifty Foot Hose,
Rowland S Howard / Lydia Lunch,
Cameo,
Kool Moe Dee,
Lebanon Hanover,
Grauzone,
Leonard Cohen,
Panda Bear,
Index, Index, Index, Index.
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.