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 Kyrgyzstan and from Madrid.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1961 to 1978.
I'm losing my edge.
To all the kids in Mumbai and Copenhagen.
I'm losing my edge to the art-school Glasgow 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 Holger Czukay 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 Los Fastidios to the rap kids.
I played it at the Spitz.
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 Kevin Saunderson. All the underground hits.
All Animal Collective tracks. I heard you have a vinyl of every the Sonics record on German import.
I heard that you have a white label of every seminal dance 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 snare and are throwing your macbook out the window because you want to make something real. You want to make a Harpers Bizarre record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
Joyce Sims,
Gian Franco Pienzio,
Erykah Badu,
Public Image Ltd.,
David McCallum,
the Normal,
Clear Light,
Don Cherry,
Crooked Eye,
Sarah Menescal,
Marmalade,
Steve Hackett,
Black Moon,
Nick Fraelich,
Urselle,
Lafayette Afro Rock Band,
Selector Dub Narcotic,
Reuben Wilson,
Vaughan Mason & Crew,
Heaven 17,
Supertramp,
Funky Four + One,
Khruangbin,
48th St. Collective,
Brand Nubian,
Jesper Dahlbäck,
Graham Central Station,
Pussy Galore,
The Neon Judgement,
Rakim,
the Human League,
The Happenings,
Jesper Dahlback,
Be Bop Deluxe,
Lower 48,
Fugazi,
Derrick May,
The Mojo Men,
Magazine,
The Pop Group,
World's Most,
Saccharine Trust,
Roy Ayers Ubiquity,
Radiohead,
The Seeds,
Max Romeo,
Ultimate Spinach,
The Angels of Light,
UT,
The Vogues,
Main Source,
Bush Tetras,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Idris Muhammad,
Camberwell Now,
Isaac Hayes,
Glenn Branca,
Rapeman,
The Busters,
The Birthday Party,
Dark Day,
Buzzcocks, Buzzcocks, Buzzcocks, Buzzcocks.
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.