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 Turkmenistan and from Lyon.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Halifax and Accra.
I'm losing my edge to the art-school Beijing 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 mellotron sounds with much patience.
I was there when Holger Czukay 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 Techniques 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 Mandrill. All the underground hits.
All Visage tracks. I heard you have a vinyl of every Babytalk record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Moebius record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
Alton Ellis,
Blossom Toes,
the Normal,
Rufus Thomas,
Maurizio,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Magma,
Gang Green,
Blancmange,
Moss Icon,
Major Organ And The Adding Machine,
The Durutti Column,
Inner City,
Super Lover Cee & Casanova Rud,
Bang on a Can All-Stars,
Marshall Jefferson,
DJ Style,
Judy Mowatt,
Monolake,
Masters at Work,
Young Marble Giants,
Henry Cow,
La Düsseldorf,
Popol Vuh,
Scott Walker,
Morten Harket,
Deadbeat,
Visage,
Lou Reed,
Average White Band,
The Buckinghams,
Erasure,
Don Cherry,
Visionaries,LMNO, T- Love & Iriscience,
Barry Ungar,
The Fortunes,
Pussy Galore,
Severed Heads,
Jerry Gold Smith,
Albert Ayler,
Sarah Menescal,
Livin' Joy,
Heavy D & The Boyz,
Gong,
Blake Baxter,
The Techniques,
Soul Sonic Force,
Robert Hood,
The Busters,
Eyeless In Gaza,
Guru Guru,
Bill Wells,
Radiohead,
Röyhkä ja Rättö ja Lehtisalo,
Harry Pussy,
The Associates,
The Tremeloes,
Pantaleimon,
Sight & Sound,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.