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 Dominican Republic and from New York.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Spokane and Seoul.
I'm losing my edge to the art-school Jakarta 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 Notorious Big And Bone Thugs to the grunge kids.
I played it at CBGB's.
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 Robert Görl tracks. I heard you have a vinyl of every Maurizio record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Ronnie Foster record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Second Layer,
Wolf Eyes,
John Foxx,
Soul Sonic Force,
48th St. Collective,
Grandmaster Flash,
Urselle,
The Cowsills,
Delta 5,
Kango’s Stein Massive,
X-101,
Alison Limerick,
Radio Birdman,
The Raincoats,
The Mighty Diamonds,
the Swans,
Schoolly D,
Oppenheimer Analysis,
The Neon Judgement,
Yusef Lateef,
Laurel Aitken,
Dawn Penn,
Rhythim Is Rhythim,
Rotary Connection,
Lalann,
Mission of Burma,
June of 44,
The Gun Club,
Tears for Fears,
Ralphi Rosario,
Gil Scott Heron,
A Certain Ratio,
Glambeats Corp.,
A Flock of Seagulls,
The Beau Brummels,
Tim Buckley,
Johnny Osbourne,
Icehouse,
the Germs,
Ultra Naté,
Connie Case,
Nik Kershaw,
Bobby Byrd,
Faust,
The Young Rascals,
Drive Like Jehu,
Minor Threat,
Grey Daturas,
The Seeds,
The Fortunes,
Howard Jones,
This Heat,
The Fugs,
The Gories,
The Zeros,
Kool Moe Dee,
The Count Five,
The Associates,
Zero Boys,
Arcadia,
James Chance & The Contortions,
Sound Behaviour, Sound Behaviour, Sound Behaviour, Sound Behaviour.
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.