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 St Lucia and from Cairo.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1969 to 1970.
I'm losing my edge.
To all the kids in Houston and Manila.
I'm losing my edge to the art-school Columbus 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 808 sounds with much patience.
I was there when Tom Verlaine 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 Swell Maps to the crunk kids.
I played it at the Crocodile.
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 Dual Sessions. All the underground hits.
All Intrusion tracks. I heard you have a vinyl of every Los Fastidios record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Audionom record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tres Demented,
Gang Starr,
The Move,
Unwound,
Frankie Knuckles,
Au Pairs,
The Pretty Things,
Sandy B,
John Foxx,
Black Moon,
Danielle Patucci,
The Fuzztones,
The Remains,
Rhythim Is Rhythim,
Urselle,
Faust,
Lakeside,
Röyhkä ja Rättö ja Lehtisalo,
Man Parrish,
JFA,
The Pop Group,
Scan 7,
It's A Beautiful Day,
Electric Prunes,
Pere Ubu,
Vladislav Delay,
Orchestral Manoeuvres in the Dark,
Darondo,
Roy Ayers Ubiquity,
Wally Richardson,
Faraquet,
Lou Reed & Metallica,
Rod Modell,
48th St. Collective,
Larry & the Blue Notes,
Arthur Verocai,
Japan,
Deepchord,
Henry Cow,
David Bowie,
Boz Scaggs,
Pharaoh Sanders and the Fire Engines,
Throbbing Gristle,
the Sonics,
Alphaville,
Ash Ra Tempel,
Lou Christie,
The Motions,
The Techniques,
This Heat,
Bill Near,
Tubeway Army,
Index,
Deakin,
Groovy Waters,
The Electric Prunes,
Gabor Szabo,
Eric Copeland,
The Cowsills,
B.T. Express,
Susan Cadogan, Susan Cadogan, Susan Cadogan, Susan Cadogan.
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.