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 Venezuela and from Salvador.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Seoul and Manchester.
I'm losing my edge to the art-school Johannesburg 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the theremin 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 Black Pus 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 Faust. All the underground hits.
All Grauzone tracks. I heard you have a vinyl of every Rahsaan Roland Kirk record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
the Association,
The United States of America,
Al Stewart,
Gregory Isaacs,
The Peanut Butter Conspiracy,
Interpol,
Bobby Hutcherson,
Stiv Bators,
Bob Dylan,
Toni Rubio,
Can,
Con Funk Shun,
Red Lorry Yellow Lorry,
Louis and Bebe Barron,
Ralphi Rosario,
Amon Düül II,
Boogie Down Productions,
Spoonie Gee,
MDC,
Kings Of Tomorrow,
Harry Pussy,
Freddie Wadling,
Malaria!,
Lindisfarne,
Pharoah Sanders,
Mantronix,
Bush Tetras,
Unrelated Segments,
Agitation Free,
Fear,
David Bowie,
Underground Resistance,
Zero Boys,
Silicon Teens,
Barrington Levy,
Symarip,
Dorothy Ashby,
The Kinks,
Tres Demented,
Pussy Galore,
The Residents,
Los Fastidios,
Danielle Patucci,
Sun Ra,
Gil Scott-Heron & Brian Jackson,
Black Bananas,
Scion,
Skarface,
Robert Wyatt,
Negative Approach,
Notorious Big And Bone Thugs,
Lonnie Liston Smith,
The Smiths,
The Gun Club,
Lou Reed & John Cale,
Royal Trux,
Boredoms,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.