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 Andorra and from Tokyo.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Bologna and Bremen.
I'm losing my edge to the art-school Woodstock 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 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 Pylon to the crunk 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 Aswad. All the underground hits.
All Judy Mowatt tracks. I heard you have a vinyl of every Aloha Tigers 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 '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minor Threat,
Electric Prunes,
Black Bananas,
Hoover,
Minnie Riperton,
Gabor Szabo,
Kaleidoscope,
Ornette Coleman,
Television Personalities,
Infiniti,
Junior Murvin,
The Fire Engines,
Gary Puckett & The Union Gap,
Toni Rubio,
AZ,
Youth Brigade,
Barry Ungar,
Sex Pistols,
MDC,
Avey Tare's Slasher Flicks,
Metal Thangz,
Jerry Gold Smith,
Marmalade,
Thinking Fellers Union Local 282,
The Mojo Men,
Quando Quango,
Crime,
Dual Sessions,
Pylon,
Dr. Dre and Snoop Doggy Dog,
Kayak,
Organ,
Ronnie Foster,
Sun City Girls,
H. Thieme,
D'Angelo,
Lindisfarne,
A Certain Ratio,
Sam Rivers,
Siouxsie and the Banshees,
Todd Rundgren,
Gichy Dan,
Yaz,
The Walker Brothers,
R.M.O.,
Grauzone,
The Remains,
Avey Tare & Kría Brekkan,
Rosa Yemen,
Chrome,
the Soft Cell,
Derrick Morgan,
the Slits,
Neil Young & Crazy Horse,
The Jesus and Mary Chain,
Sight & Sound,
Model 500,
Sun Ra Arkestra,
Lee Hazlewood,
Soft Cell,
Ice-T,
Sandy B,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.