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 Guinea and from Johannesburg.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Toronto and Jakarta.
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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Buzzcocks to the funk kids.
I played it at the Spitz.
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 Grey Daturas. All the underground hits.
All The Standells tracks. I heard you have a vinyl of every Audionom 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool G Rap & DJ Polo,
Be Bop Deluxe,
Janne Schatter,
Black Bananas,
Sly & The Family Stone,
Fat Boys,
The Mummies,
Steve Hackett,
The Sisters of Mercy,
Kevin Saunderson,
Sun Ra,
Minny Pops,
Visage,
Scott Walker + Sunn O))),
Q65,
Art Ensemble Of Chicago,
Judy Mowatt,
The Names,
Lakeside,
Urselle,
Tim Buckley,
Bronski Beat,
Dorothy Ashby,
Kayak,
The Slits,
Lebanon Hanover,
Byron Stingily,
the Soft Cell,
Mary Jane Girls,
Sällskapet,
Sister Nancy,
Fort Wilson Riot,
The J.B.'s,
Joensuu 1685,
Black Pus,
Country Joe & The Fish,
Roy Ayers,
Scrapy,
Wire,
Avey Tare,
Heavy D & The Boyz,
The Fire Engines,
Unrelated Segments,
Negative Approach,
Absolute Body Control,
Nick Cave & The Bad Seeds,
The Neon Judgement,
Deutsch Amerikanische Freundschaft,
MC5,
The Stooges,
Sound Behaviour,
Brick,
The Sound,
Bad Manners,
Bob Dylan,
Kool Moe Dee,
The Invisible,
Howard Jones,
The Associates,
Arab on Radar,
Flash Fearless,
Isaac Hayes, Isaac Hayes, Isaac Hayes, Isaac Hayes.
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.