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 South Africa and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Portland and Copenhagen.
I'm losing my edge to the art-school Bologna 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 guitar sounds with much patience.
I was there when Tom Verlaine 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 Bobby Byrd to the funk 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 Faust. All the underground hits.
All Matthew Halsall tracks. I heard you have a vinyl of every Brothers Johnson record on German import.
I heard that you have a white label of every seminal funk 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 an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott Heron record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
Red Lorry Yellow Lorry,
the Slits,
James Chance & The Contortions,
David McCallum,
Barrington Levy,
Avey Tare & Kría Brekkan,
OOIOO,
Subhumans,
Rites of Spring,
Johnny Osbourne,
The Angels of Light,
Lee Hazlewood,
Ultramagnetic MC's,
The Slackers,
Crash Course in Science,
The Toasters,
The Human League,
Radiopuhelimet,
Cecil Taylor,
Symarip,
Johnny Clarke,
Thompson Twins,
Yellowson,
Chris Corsano,
Sun Ra,
Graham Central Station,
Fear,
Alison Limerick,
Moebius,
Davy DMX,
The Star Department,
Oblivians,
Fad Gadget,
Stereo Dub,
The Sound,
Bill Near,
Freddie Wadling,
Infiniti,
Ultra Naté,
Terrestrial Tones,
Gregory Isaacs,
Simply Red,
The Music Machine,
FM Einheit,
Ludus,
Depeche Mode,
10cc,
Gong,
Stiv Bators,
A Certain Ratio,
Black Flag,
Mars,
Hoover,
Boredoms,
Gastr Del Sol,
Derrick May,
Pharoah Sanders,
It's A Beautiful Day,
Glenn Branca, Glenn Branca, Glenn Branca, Glenn Branca.
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.