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 Mauritania and from Columbus.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Delhi and Philadelphia.
I'm losing my edge to the art-school Tehran 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 chamberlin 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 Blancmange to the techno 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 Reagan Youth. All the underground hits.
All Trumans Water tracks. I heard you have a vinyl of every Tears for Fears 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 '70s cut and another box set from the '80s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Misunderstood record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cheater Slicks,
Liliput,
Magma,
Kenny Larkin,
The Evens,
Audionom,
The Victims,
Wasted Youth,
The Gladiators,
Louis and Bebe Barron,
Ten City,
Von Mondo,
Japan,
Niagra,
Depeche Mode,
This Heat,
Terrestrial Tones,
The Mojo Men,
Visionaries,LMNO, T- Love & Iriscience,
Reuben Wilson,
Rowland S Howard / Lydia Lunch,
The New Christs,
Bill Wells,
Hot Snakes,
Jacques Brel,
Talk Talk,
Cluster,
Man Eating Sloth,
The Monks,
Interpol,
The Neon Judgement,
Pantytec,
The Divine Comedy,
Q65,
Eyeless In Gaza,
The Men They Couldn't Hang,
Bill Near,
Ponytail,
Marc Romboy vs. Booka Shade,
Dorothy Ashby,
Goldenarms,
FM Einheit,
DJ Sneak,
Gil Scott-Heron and Jamie xx,
Thinking Fellers Union Local 282,
Sugar Minott,
Tubeway Army,
Stockholm Monsters,
Moebius,
Marc Almond,
Kevin Saunderson,
Black Moon,
Fluxion,
Röyhkä ja Rättö ja Lehtisalo,
Fugazi,
AZ,
Maleditus Sound,
L. Decosne,
Henry Cow,
The Smiths,
the Slits,
Anakelly, Anakelly, Anakelly, Anakelly.
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.