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 Mozambique and from Woodstock.
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 1978.
I'm losing my edge.
To all the kids in Lagos and Johannesburg.
I'm losing my edge to the art-school Tehran 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 The Slits to the techno 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 Scan 7. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every John Holt record on German import.
I heard that you have a white label of every seminal grunge 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 spring reverb and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lalann record.
I hear that you and your band have sold your organ and bought an oboe.
I hear that you and your band have sold your oboe and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
Second Layer,
Glambeats Corp.,
Rites of Spring,
Dawn Penn,
a-ha,
Easy Going,
The Remains,
Pharaoh Sanders and the Fire Engines,
Amon Düül,
Joe Smooth,
X-102,
Kaleidoscope,
Radiohead,
World's Most,
Orchestral Manoeuvres in the Dark,
Swell Maps,
Donny Hathaway,
Juan Atkins,
Index,
Bang on a Can All-Stars,
The Fire Engines,
Brothers Johnson,
Quando Quango,
LL Cool J,
Pet Shop Boys,
Cameo,
Gian Franco Pienzio,
Wighnomy Brothers & Robag Wruhme,
The American Breed,
Colin Newman,
Y Pants,
Severed Heads,
Lightning Bolt,
UT,
Q and Not U,
Kool G Rap & DJ Polo,
the Bar-Kays,
Letta Mbulu,
Boogie Down Productions,
Cal Tjader,
Chris & Cosey,
Animal Collective,
Glenn Branca,
Underground Resistance,
Cabaret Voltaire,
KRS-One,
Nico,
Parry Music,
Crispian St. Peters,
R.M.O.,
Sex Pistols,
Zapp,
Hardrive,
Young Marble Giants,
DNA,
Trumans Water,
Leonard Cohen,
Jacques Brel,
Chrome,
Heavy D & The Boyz,
New Order, New Order, New Order, New Order.
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.