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 Kiribati and from Cairo.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Lyon.
I'm losing my edge to the art-school Mexico City 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 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 DJ Sneak to the grunge kids.
I played it at the 40 Watt.
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 Jimmy McGriff. All the underground hits.
All Dual Sessions tracks. I heard you have a vinyl of every The Slackers record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
Teenage Jesus and the Jerks,
Kerri Chandler,
B.T. Express,
Gang Gang Dance,
Quadrant,
Country Teasers,
Zero Boys,
Lucky Dragons,
New York Dolls,
Rotary Connection,
Jesper Dahlbäck,
Vaughan Mason & Crew,
Hoover,
Livin' Joy,
Buzzcocks,
DNA,
KRS-One,
Lou Christie,
Excepter,
The Motions,
Kango’s Stein Massive,
Metal Thangz,
Sex Pistols,
the Germs,
Max Romeo,
June Days,
Delon & Dalcan,
Dead Boys,
Soul II Soul,
Severed Heads,
The Trojans,
Skriet,
Soft Machine,
Grauzone,
Chris & Cosey,
The Stooges,
MC5,
Todd Rundgren,
Silicon Teens,
Derrick Morgan,
The Smoke,
Pere Ubu,
Kauko Röyhkä ja Narttu,
Rites of Spring,
Black Bananas,
Clear Light,
Marmalade,
Jerry's Kids,
Michelle Simonal,
The Pop Group,
The Monochrome Set,
Lonnie Liston Smith,
The Fall,
the Fania All-Stars,
James White and The Blacks,
Cameo,
Hasil Adkins,
Moebius,
Terrestrial Tones,
Little Man,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.