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 Gabon and from Toronto.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1978.
I'm losing my edge.
To all the kids in Stockholm and Tokyo.
I'm losing my edge to the art-school Bologna 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 marimba sounds with much patience.
I was there when Lou Reed 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 X-101 to the electroclash kids.
I played it at the Astoria.
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 Robert Wyatt. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Rekid record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Malaria! record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
A Flock of Seagulls,
Fifty Foot Hose,
T. Rex,
Pierre Henry,
Marvin Gaye,
Ornette Coleman,
Spoonie Gee,
Nico,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Janne Schatter,
Rosa Yemen,
John Cale,
Robert Hood,
Selector Dub Narcotic,
Procol Harum,
Ten City,
Kool G Rap & DJ Polo,
Mandrill,
The Zeros,
Laurel Aitken,
Thompson Twins,
Icehouse,
Chris Corsano,
X-101,
Bluetip,
Rowland S Howard / Lydia Lunch,
The Five Americans,
the Association,
E-Dancer,
Sonny Sharrock,
Eyeless In Gaza,
The Residents,
Ultravox,
Jacob Miller,
Nik Kershaw,
ABC,
Sandy B,
Scratch Acid,
Underground Resistance,
Rhythm & Sound,
Zero Boys,
Fear,
Kango’s Stein Massive,
48th St. Collective,
Erasure,
Black Bananas,
Bizarre Inc.,
Wire,
Chrome,
Major Organ And The Adding Machine,
Basic Channel,
Main Source,
The Trojans,
Smog,
Magma,
The Martian,
David McCallum,
Blancmange,
Roxette,
Flipper,
Rapeman, Rapeman, Rapeman, Rapeman.
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.