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 Belize and from Accra.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1974.
I'm losing my edge.
To all the kids in Bremen and Mumbai.
I'm losing my edge to the art-school Seoul 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 oboe 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 Boz Scaggs to the punk kids.
I played it at the Astoria.
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 Scan 7. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every MC5 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Porter Ricks,
Franke,
Silicon Teens,
Cybotron,
Danielle Patucci,
Siouxsie and the Banshees,
Pierre Henry,
Electric Light Orchestra,
Jimmy McGriff,
The Angels of Light,
Monks,
Funkadelic,
The Gap Band,
Yaz,
Qualms,
Orchestral Manoeuvres in the Dark,
Metal Thangz,
Bizarre Inc.,
Inner City,
Zero Boys,
OOIOO,
Röyhkä ja Rättö ja Lehtisalo,
The Trojans,
The Men They Couldn't Hang,
Art Ensemble Of Chicago,
Das Ding,
Pete Rock & C.L. Smooth,
Technova,
Motorama,
Boogie Down Productions,
Graham Central Station,
The Young Rascals,
Mary Jane Girls,
Joensuu 1685,
Scan 7,
Vladislav Delay,
Avey Tare,
Gang of Four,
Rapeman,
Erasure,
The Fuzztones,
Cal Tjader,
The Pretty Things,
Von Mondo,
the Soft Cell,
Simply Red,
Cameo,
Subhumans,
Spoonie Gee,
Sun Ra,
The Fire Engines,
Matthew Bourne,
Bad Manners,
the Swans,
Sparks,
Robert Hood,
Country Joe & The Fish,
Amazonics,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.