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 Egypt and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Paris and Columbus.
I'm losing my edge to the art-school Delhi 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 1984 at the first Arcadia 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 Cabaret Voltaire to the electroclash 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 Zero Boys. All the underground hits.
All Lou Christie tracks. I heard you have a vinyl of every Aloha Tigers record on German import.
I heard that you have a white label of every seminal grime 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 spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Morten Harket record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
Colin Newman,
Mr. Review,
Lou Reed & John Cale,
Albert Ayler,
Q and Not U,
The Gun Club,
Pole,
Swell Maps,
Surgeon,
New York Dolls,
The Kinks,
Little Man,
Chris & Cosey,
Banda Bassotti,
Marmalade,
Vaughan Mason & Crew,
Bill Near,
Fugazi,
Sad Lovers and Giants,
Nils Olav,
the Normal,
Bizarre Inc.,
The Misunderstood,
Wasted Youth,
Angels of Light & Akron/Family,
Das Ding,
Maurizio,
Spandau Ballet,
The Associates,
Notorious BIG live in Amsterdam,
Roy Ayers Ubiquity,
Fear,
Wire,
Tom Boy,
Warsaw,
The Cosmic Jokers,
Sex Pistols,
Kas Product,
Buzzcocks,
The West Coast Pop Art Experimental Band,
Patti Smith,
Sly & The Family Stone,
The Moody Blues,
Ornette Coleman,
Lungfish,
Stockholm Monsters,
Black Moon,
Davy DMX,
Marc Romboy vs. Booka Shade,
Infiniti,
Cabaret Voltaire,
Bootsy Collins,
Gang Green,
The Motions,
Minutemen,
Ludus,
Warren Ellis,
Con Funk Shun,
Mantronix,
Cluster,
KRS-One,
Amon Düül II, Amon Düül II, Amon Düül II, Amon Düül II.
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.