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 Portugal and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Tokyo.
I'm losing my edge to the art-school Stockholm 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 harpsichord 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 Colin Newman to the punk kids.
I played it at Cafe Wha.
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 Rhythim Is Rhythim. All the underground hits.
All Blossom Toes tracks. I heard you have a vinyl of every Neil Young record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Eating Sloth,
Rufus Thomas,
Negative Approach,
Ice-T,
Blake Baxter,
The American Breed,
The Young Rascals,
Marine Girls,
Lyres,
Pharaoh Sanders and the Fire Engines,
Gil Scott-Heron and Jamie xx,
Nils Olav,
Oppenheimer Analysis,
Rhythm & Sound,
The Dead C,
FM Einheit,
The United States of America,
UT,
Ludus,
Rekid,
Bang On A Can,
In Retrospect,
John Lydon,
Mars,
Infiniti,
Scion,
Kool G Rap & DJ Polo,
Essential Logic,
Skaos,
The Raincoats,
Reuben Wilson,
The Mojo Men,
Oblivians,
Nation of Ulysses,
The Knickerbockers,
Interpol,
Drexciya,
Los Fastidios,
Khruangbin,
James White and The Blacks,
Ornette Coleman,
Maleditus Sound,
Gang Green,
Crispy Ambulance,
Hardrive,
Parry Music,
Liliput,
Kauko Röyhkä ja Narttu,
Warren Ellis,
Manfred Mann's Earth Band,
The Cure,
Frankie Knuckles,
Robert Wyatt,
Flipper,
Derrick Morgan,
Soft Cell,
Symarip,
Jacob Miller,
Babytalk,
The Neon Judgement,
Howard Jones,
Bobby Sherman,
The Seeds, The Seeds, The Seeds, The Seeds.
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.