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 Switzerland and from Spokane.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1973.
I'm losing my edge.
To all the kids in London and Salvador.
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 güiro 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 The Vogues to the disco kids.
I played it at the Hacienda.
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 Young Marble Giants. All the underground hits.
All Gabor Szabo tracks. I heard you have a vinyl of every Neu! record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a June of 44 record.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cosmic Jokers,
The Move,
Matthew Halsall,
Jawbox,
Tres Demented,
Joe Smooth,
Bobby Byrd,
X-101,
Eddi Front,
Jandek,
The Monks,
Frankie Knuckles,
the Swans,
Ultimate Spinach,
The Cramps,
Letta Mbulu,
It's A Beautiful Day,
The Shadows of Knight,
Whodini,
Fad Gadget,
Roy Ayers Ubiquity,
Arthur Verocai,
The Tremeloes,
cv313,
X-Ray Spex,
Sandy B,
Laurel Aitken,
Rufus Thomas,
Kas Product,
Eyeless In Gaza,
Porter Ricks,
Underground Resistance,
Rotary Connection,
Stockholm Monsters,
Steve Hackett,
Kango’s Stein Massive,
The Pop Group,
Anakelly,
The Dave Clark Five,
Simply Red,
Gil Scott-Heron & Brian Jackson,
Aaron Thompson,
Deakin,
Alice Coltrane,
8 Eyed Spy,
the Sonics,
Magma,
Dave Gahan,
In Retrospect,
Throbbing Gristle,
Mark Hollis,
Juan Atkins,
Fat Boys,
Lightning Bolt,
Radiopuhelimet,
Vainqueur,
Sexual Harrassment,
The Birthday Party,
Chrome,
June Days,
Sound Behaviour,
New York Dolls,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.