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 Luxembourg and from Mexico City.
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 1969 to 1970.
I'm losing my edge.
To all the kids in New York and Manila.
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 organ sounds with much patience.
I was there when David Bowie 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 Stetsasonic to the techno kids.
I played it at the Crocodile.
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 Derrick May. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every Eve St. Jones 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 '60s cut and another box set from the '90s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monks,
The Raincoats,
The Walker Brothers,
Ken Boothe,
the Germs,
Jeru the Damaja,
Todd Terry,
Eddi Front,
Bobby Hutcherson,
Iggy Pop,
Tres Demented,
Sonny Sharrock,
The Cowsills,
Darondo,
Underground Resistance,
The Neon Judgement,
One Last Wish,
Colin Newman,
It's A Beautiful Day,
The Martian,
Davy DMX,
Audionom,
Chris & Cosey,
Aloha Tigers,
The Cure,
Ludus,
Richard Hell and the Voidoids,
Moebius,
Funkadelic,
The Techniques,
Slave,
Arab on Radar,
Television Personalities,
Ossler,
Ituana,
The Fall,
Super Lover Cee & Casanova Rud,
Moby Grape,
Beasts of Bourbon,
John Foxx,
Barry Ungar,
Alison Limerick,
Pharaoh Sanders and the Fire Engines,
Max Romeo,
Sad Lovers and Giants,
Camron Feat. Memphis Bleek And Beenie Seigel,
June of 44,
The Associates,
Sparks,
The Vogues,
London Community Gospel Choir,
Röyhkä ja Rättö ja Lehtisalo,
Idris Muhammad,
Cal Tjader,
The Gap Band,
Ronan,
Lightning Bolt,
Lebanon Hanover,
Barclay James Harvest,
Can,
Au Pairs,
Soul Sonic Force,
Echospace,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.