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 Thailand and from Cairo.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Accra and Accra.
I'm losing my edge to the art-school Shanghai 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 Joensuu 1685 to the disco 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 MDC. All the underground hits.
All Warren Ellis tracks. I heard you have a vinyl of every John Foxx 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flash Fearless,
Zero Boys,
Letta Mbulu,
48th St. Collective,
Radio Birdman,
Piero Umiliani,
Cecil Taylor,
The Kinks,
Minor Threat,
FM Einheit,
Anthony Braxton,
Kauko Röyhkä ja Narttu,
David Axelrod,
Audionom,
Massinfluence,
The Red Krayola,
Throbbing Gristle,
Jeff Lynne,
The Black Dice,
Kerri Chandler,
X-102,
Colin Newman,
Motorama,
Teenage Jesus and the Jerks,
The Selecter,
Underground Resistance,
Leonard Cohen,
Lightning Bolt,
The Sound,
The Invisible,
The Names,
Organ,
Sugar Minott,
Grey Daturas,
Accadde A,
Spandau Ballet,
T. Rex,
The Victims,
Dark Day,
Gil Scott-Heron and Jamie xx,
The Residents,
Henry Cow,
Pole,
James Chance & The Contortions,
The Smoke,
New Age Steppers,
AZ,
Brick,
Marine Girls,
Gian Franco Pienzio,
The Searchers,
Laurel Aitken,
Depeche Mode,
Deepchord,
Liliput,
Soft Machine,
Silicon Teens,
Pulsallama,
Ituana,
Pere Ubu,
Soul II Soul,
The Smiths,
the Slits, the Slits, the Slits, the Slits.
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.