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 Ghana and from Lagos.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Beijing and Milan.
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 synthesizer 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 Be Bop Deluxe to the crunk 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 Bill Near. All the underground hits.
All Black Moon tracks. I heard you have a vinyl of every The Electric Prunes record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Moody Blues 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?
Sound Behaviour,
Mad Mike,
The Cowsills,
Arab on Radar,
The Moleskins,
Andrew Hill,
The Count Five,
Wasted Youth,
Rowland S Howard / Lydia Lunch,
The Slackers,
Reagan Youth,
Kerrie Biddell,
Barry Ungar,
Con Funk Shun,
Eve St. Jones,
Lou Reed & Metallica,
Man Parrish,
Rotary Connection,
Delon & Dalcan,
Pierre Henry,
Bootsy Collins,
Average White Band,
Camberwell Now,
Gastr Del Sol,
Cecil Taylor,
Fluxion,
Eden Ahbez,
Lightning Bolt,
Country Teasers,
Sight & Sound,
Eric B and Rakim,
Tomorrow,
Manfred Mann's Earth Band,
Danielle Patucci,
LL Cool J,
Banda Bassotti,
New York Dolls,
Gian Franco Pienzio,
Ornette Coleman,
Bobby Womack,
Pharaoh Sanders and the Fire Engines,
Big Daddy Kane,
Wighnomy Brothers & Robag Wruhme,
Boogie Down Productions,
Röyhkä ja Rättö ja Lehtisalo,
Alice Coltrane,
Joensuu 1685,
Cameo,
Johnny Clarke,
Chris Corsano,
Buzzcocks,
KRS-One,
Theoretical Girls,
L. Decosne,
Colin Newman,
Kings Of Tomorrow,
Sunsets and Hearts,
Stetsasonic,
The Walker Brothers,
The Shadows of Knight,
Marc Almond, Marc Almond, Marc Almond, Marc Almond.
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.