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 Luxembourg and from Portland.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1969 to 1973.
I'm losing my edge.
To all the kids in Manchester and Columbus.
I'm losing my edge to the art-school Paris 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 oboe 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 Sarah Menescal to the rap kids.
I played it at the Crocodile.
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 Soulsonic Force. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every Larry & the Blue Notes 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Toasters record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Bananas,
Michelle Simonal,
Robert Wyatt,
Minor Threat,
The Fuzztones,
Ludus,
Radio Birdman,
Rotary Connection,
Derrick May,
PIL,
A Certain Ratio,
Nation of Ulysses,
The Jesus and Mary Chain,
Grey Daturas,
Barclay James Harvest,
Hardrive,
Dave Gahan,
Danielle Patucci,
Kerrie Biddell,
Johnny Clarke,
Swell Maps,
Ten City,
Subhumans,
Pussy Galore,
The Fortunes,
Heaven 17,
Bill Wells,
Notorious Big And Bone Thugs,
Fela Kuti,
Y Pants,
Alton Ellis,
Echospace,
The Electric Prunes,
The J.B.'s,
Gang of Four,
The Real Kids,
Joensuu 1685,
Chris Corsano,
Quantec,
La Düsseldorf,
Shoche,
Royal Trux,
Chrome,
The Tremeloes,
Ultravox,
The Moleskins,
Amon Düül II,
Roy Ayers,
The Blues Magoos,
Pierre Henry,
Harpers Bizarre,
Selector Dub Narcotic,
Graham Central Station,
Excepter,
Mark Hollis,
The Chocolate Watch Band,
Wire,
Bob Dylan,
John Holt,
The Selecter,
Organ, Organ, Organ, Organ.
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.