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 Fiji and from Madrid.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Salvador and Manila.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the snare 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 Fela Kuti to the grunge kids.
I played it at CBGB's.
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 Arthur Verocai. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every Slave record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Man Parrish,
Wasted Youth,
Donny Hathaway,
Marc Romboy vs. Booka Shade,
The Selecter,
The Techniques,
The Residents,
Bootsy Collins,
Larry & the Blue Notes,
Lizzy Mercier Descloux,
Dorothy Ashby,
Joyce Sims,
The Moody Blues,
The Smoke,
Gerry Rafferty,
The Golliwogs,
Minnie Riperton,
Matthew Bourne,
Harpers Bizarre,
Soul II Soul,
The Grass Roots,
Delta 5,
Art Ensemble Of Chicago,
Grey Daturas,
Hashim,
Public Enemy,
Das Ding,
Anthony Braxton,
Bootsy's Rubber Band,
48th St. Collective,
The Skatalites,
Ohio Players,
Vainqueur,
Trumans Water,
PIL,
The Walker Brothers,
Nation of Ulysses,
The Pop Group,
Skarface,
The Mighty Diamonds,
Sound Behaviour,
Scientists,
Gichy Dan,
Black Pus,
Tubeway Army,
Accadde A,
Archie Shepp,
Masters at Work,
Moebius,
The Sisters of Mercy,
Jacques Brel,
the Normal,
Mandrill,
Gary Puckett & The Union Gap,
Davy DMX,
Au Pairs,
Q and Not U,
Kauko Röyhkä ja Narttu,
Porter Ricks,
DeepChord presents Echospace,
Animal Collective,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.