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 Dominica and from Beijing.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Lyon and Bremen.
I'm losing my edge to the art-school Manchester 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 güiro 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 Wasted Youth to the techno 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 Camberwell Now. All the underground hits.
All Roy Ayers Ubiquity tracks. I heard you have a vinyl of every Visage record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Camouflage record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
L. Decosne,
Bauhaus,
Japan,
Symarip,
Yusef Lateef,
the Germs,
Ultramagnetic MC's,
China Crisis,
Intrusion,
Das Ding,
Royal Trux,
Fatback Band,
The Buckinghams,
Warren Ellis,
Cameo,
Rowland S Howard / Lydia Lunch,
The Detroit Cobras,
U.S. Maple,
The Doobie Brothers,
Grauzone,
DNA,
Pole,
Desert Stars,
Peter & Gordon,
Deakin,
Jandek,
Thee Headcoats,
Bluetip,
Jesper Dahlback,
Soft Machine,
Deepchord,
Kayak,
Magazine,
The Toasters,
Country Joe & The Fish,
Magma,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Subhumans,
Nas,
The Invisible,
Pet Shop Boys,
The Residents,
Rosa Yemen,
Half Japanese,
Kool Moe Dee,
Roy Ayers,
Roy Ayers Ubiquity,
Cabaret Voltaire,
Robert Görl,
The Velvet Underground,
Orchestral Manoeuvres in the Dark,
Brass Construction,
Eric Copeland,
Minor Threat,
Pharaoh Sanders and the Fire Engines,
K-Klass,
Piero Umiliani,
Flamin' Groovies,
Aural Exciters,
The Cramps,
Gang Gang Dance,
New Age Steppers,
Sparks, Sparks, Sparks, Sparks.
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.