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 Bulgaria and from Bologna.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Lyon and Taipei.
I'm losing my edge to the art-school Columbus 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 Captain Beefheart 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 Tears for Fears to the grime kids.
I played it at the Hacienda.
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 Piero Umiliani. All the underground hits.
All Zapp tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Angels of Light record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reuben Wilson,
Wasted Youth,
Amon Düül,
Peter & Gordon,
The Jesus and Mary Chain,
Gil Scott-Heron & Brian Jackson,
Stockholm Monsters,
Teenage Jesus and the Jerks,
The Toasters,
Sight & Sound,
Fugazi,
Kings Of Tomorrow,
Terrestrial Tones,
Dawn Penn,
Archie Shepp,
Brick,
Sparks,
Banda Bassotti,
Peter and Kerry,
ABC,
Ken Boothe,
Kaleidoscope,
Camouflage,
Sun City Girls,
K-Klass,
Piero Umiliani,
Oblivians,
Severed Heads,
The Pretty Things,
The Victims,
The Moody Blues,
Maurizio,
Pharoah Sanders,
The Saints,
The Leaves,
Bluetip,
Jerry Gold Smith,
Unrelated Segments,
Davy DMX,
Lindisfarne,
Panda Bear,
Drive Like Jehu,
Desert Stars,
Chris & Cosey,
Ultravox,
Crispy Ambulance,
The Associates,
Massinfluence,
the Bar-Kays,
U.S. Maple,
Sun Ra,
Ponytail,
Jeff Mills,
Maleditus Sound,
Super Lover Cee & Casanova Rud,
Carl Craig,
The Invisible,
Little Man,
Blake Baxter,
Trumans Water,
Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive, Kango’s Stein Massive.
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.