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 Suriname and from Calgary.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Madrid and Manila.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the organ sounds with much patience.
I was there when Robert Palmer 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 Yazoo to the punk 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 Pulsallama. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every David McCallum 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 '60s cut and another box set from the '80s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Warren Ellis,
Scion,
Boredoms,
Animal Collective,
Be Bop Deluxe,
Camron Feat. Jay Z And Juelz,
The Techniques,
Amon Düül II,
Duran Duran,
The Names,
Visage,
KRS-One,
Ludus,
H. Thieme,
Röyhkä ja Rättö ja Lehtisalo,
Das Ding,
Eurythmics,
Heaven 17,
Kango’s Stein Massive,
Banda Bassotti,
Sun Ra Arkestra,
Janne Schatter,
The Young Rascals,
Rites of Spring,
Ohio Players,
Inner City,
D'Angelo,
Roxy Music,
Bang On A Can,
Alison Limerick,
Theoretical Girls,
Crime,
The Litter,
Nico,
Gang Starr,
Avey Tare,
Massinfluence,
Rapeman,
The Dead C,
Howard Jones,
Flamin' Groovies,
Kool Moe Dee,
Robert Hood,
Crooked Eye,
Tim Buckley,
John Cale,
Gastr Del Sol,
Peter Gordon & Love of Life Orchestra,
James White and The Blacks,
Sparks,
Lafayette Afro Rock Band,
Drive Like Jehu,
Pharaoh Sanders and the Fire Engines,
Black Moon,
Mary Jane Girls,
Moss Icon,
Zero Boys,
Beasts of Bourbon,
FM Einheit,
The West Coast Pop Art Experimental Band,
Loose Ends,
Surgeon,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.