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 Gabon and from Sao Paulo.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Manila and Manchester.
I'm losing my edge to the art-school Tokyo 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 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 The Remains to the rap 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 Marcia Griffiths. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every Peter & Gordon record on German import.
I heard that you have a white label of every seminal grime 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 chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Peter and Kerry record.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fuzztones,
Hardrive,
The Flesh Eaters,
The Selecter,
Boogie Down Productions,
Bill Wells,
Livin' Joy,
Flipper,
The Gun Club,
Television Personalities,
Harpers Bizarre,
Pulsallama,
Bill Near,
Von Mondo,
Bush Tetras,
X-102,
Urselle,
Hoover,
Accadde A,
Sight & Sound,
Kurtis Blow,
Cluster,
World's Most,
Sam Rivers,
Motorama,
Scan 7,
Aural Exciters,
Funky Four + One,
In Retrospect,
Major Organ And The Adding Machine,
Bobby Womack,
Lindisfarne,
Vladislav Delay,
Ronan,
UT,
Mary Jane Girls,
Drexciya,
The Litter,
Soul Sonic Force,
The Pretty Things,
Fad Gadget,
Andrew Hill,
Jerry Gold Smith,
Eli Mardock,
Lizzy Mercier Descloux,
Avey Tare's Slasher Flicks,
Roy Ayers Ubiquity,
Sonny Sharrock,
Icehouse,
The Associates,
Dual Sessions,
Nik Kershaw,
Deepchord,
Scientists,
Moebius,
Crime,
Big Daddy Kane,
Faraquet,
Darondo,
Angels of Light & Akron/Family,
Ituana,
The Evens, The Evens, The Evens, The Evens.
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.