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 Latvia and from Lyon.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in Portland and Manchester.
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 synthesizer 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 Fluxion to the rock 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 Charles Mingus. All the underground hits.
All Reagan Youth 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 '50s cut and another box set from the '70s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Grauzone record.
I hear that you and your band have sold your oboe and bought a theremin.
I hear that you and your band have sold your theremin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
Gastr Del Sol,
Soft Machine,
Mandrill,
Barbara Tucker,
Oneida,
the Bar-Kays,
Judy Mowatt,
Electric Light Orchestra,
Kerri Chandler,
Boz Scaggs,
Darondo,
Essential Logic,
Marcia Griffiths,
Bootsy Collins,
Goldenarms,
UT,
Lonnie Liston Smith,
Schoolly D,
Kango’s Stein Massive,
Motorama,
L. Decosne,
Bill Wells,
Peter & Gordon,
JFA,
Banda Bassotti,
Ossler,
Toni Rubio,
Gregory Isaacs,
Fugazi,
The Mojo Men,
Infiniti,
a-ha,
Audionom,
Girls At Our Best!,
Scratch Acid,
Fela Kuti,
Curtis Mayfield,
Cal Tjader,
Kaleidoscope,
Bush Tetras,
Major Organ And The Adding Machine,
Howard Jones,
Icehouse,
Country Teasers,
Soulsonic Force,
Avey Tare,
Andrew Hill,
the Fania All-Stars,
Liliput,
Quando Quango,
Buzzcocks,
Talk Talk,
Deepchord,
Eden Ahbez,
June of 44,
Charles Mingus,
the Soft Cell,
Barclay James Harvest,
Scrapy,
Public Enemy, Public Enemy, Public Enemy, Public Enemy.
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.