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 China and from Salvador.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Jakarta and Tokyo.
I'm losing my edge to the art-school Bologna 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 spring reverb sounds with much patience.
I was there when David Bowie 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 kango's stein massive to the crunk kids.
I played it at the Roxy.
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 Todd Rundgren. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every Albert Ayler record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Barrington Levy record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Dave Clark Five,
Severed Heads,
Cluster,
Sam Rivers,
Visage,
The Techniques,
Traffic Nightmare,
The Fortunes,
Moebius,
X-Ray Spex,
Bobby Hutcherson,
Mantronix,
E-Dancer,
T. Rex,
Ralphi Rosario,
Moss Icon,
The Red Krayola,
Be Bop Deluxe,
The Fuzztones,
Banda Bassotti,
Agitation Free,
ABC,
Roy Ayers,
Delta 5,
Freddie Wadling,
The Litter,
The Fall,
The Gun Club,
Section 25,
The Smoke,
Index,
Pole,
Nico,
The Victims,
Young Marble Giants,
Theoretical Girls,
New Order,
Gil Scott Heron,
Godley & Creme,
Byron Stingily,
Lindisfarne,
Rekid,
Soft Cell,
Wally Richardson,
Mary Jane Girls,
Country Teasers,
Siouxsie and the Banshees,
Sun Ra,
Bluetip,
Bootsy's Rubber Band,
James Chance & The Contortions,
Bobbi Humphrey,
Johnny Clarke,
La Düsseldorf,
The Slits,
Brothers Johnson,
Ronnie Foster,
The Divine Comedy,
Second Layer,
Half Japanese,
Roxy Music,
Cal Tjader,
Scrapy,
Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra, Peter Gordon & Love of Life Orchestra.
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.