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 Brazil and from London.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Salvador.
I'm losing my edge to the art-school Shanghai 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 güiro sounds with much patience.
I was there when David Bowie 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 Schoolly D to the electroclash kids.
I played it at Cafe Wha.
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 The Move. All the underground hits.
All the Human League tracks. I heard you have a vinyl of every T.S.O.L. record on German import.
I heard that you have a white label of every seminal funk 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 mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras 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?
Mark Hollis,
Radiohead,
Joensuu 1685,
Ludus,
The Shadows of Knight,
Blake Baxter,
Arab on Radar,
PIL,
The Litter,
Kerrie Biddell,
The Angels of Light,
the Slits,
Gary Puckett & The Union Gap,
The Detroit Cobras,
The Doobie Brothers,
This Heat,
Ralphi Rosario,
Angry Samoans,
Sister Nancy,
The Stooges,
June of 44,
Gil Scott-Heron & Brian Jackson,
The Doors,
James Chance & The Contortions,
World's Most,
Louis and Bebe Barron,
Robert Görl,
Negative Approach,
Fela Kuti,
Liaisons Dangereuses,
Reagan Youth,
Audionom,
Arcadia,
In Retrospect,
The Fuzztones,
8 Eyed Spy,
Cameo,
ABC,
T. Rex,
Barbara Tucker,
X-101,
One Last Wish,
Newcleus,
Warsaw,
Skriet,
Visage,
Eve St. Jones,
Judy Mowatt,
Bobbi Humphrey,
Khruangbin,
48th St. Collective,
Ken Boothe,
Clear Light,
Mr. Review,
The Moody Blues,
Black Moon,
Minor Threat,
Red Lorry Yellow Lorry,
Chrome,
Sight & Sound,
Echospace, Echospace, Echospace, Echospace.
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.