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 Canada and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Bremen and Hong Kong.
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 synthesizer 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 Silicon Teens to the techno kids.
I played it at Trash.
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 Wolf Eyes. All the underground hits.
All Underground Resistance tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
Fifty Foot Hose,
Eve St. Jones,
Bobby Byrd,
Sandy B,
Japan,
Peter and Kerry,
Monks,
Dark Day,
Visionaries,LMNO, T- Love & Iriscience,
The Sound,
Traffic Nightmare,
Anakelly,
Rites of Spring,
Angels of Light & Akron/Family,
D'Angelo,
Bobby Hutcherson,
Kaleidoscope,
Easy Going,
The Neon Judgement,
Bush Tetras,
Heaven 17,
The Slackers,
Interpol,
Kas Product,
Ludus,
Inner City,
Minutemen,
DeepChord presents Echospace,
Unwound,
Erykah Badu,
ABC,
Pulsallama,
Liliput,
Matthew Halsall,
Whodini,
Das Ding,
New York Dolls,
Metal Thangz,
Pharaoh Sanders and the Fire Engines,
T.S.O.L.,
Bootsy Collins,
Bluetip,
Hardrive,
The Saints,
Yazoo,
Hasil Adkins,
The American Breed,
Susan Cadogan,
Louis and Bebe Barron,
R.M.O.,
The J.B.'s,
The Fortunes,
Oppenheimer Analysis,
The Cowsills,
The Busters,
Barry Ungar,
Soulsonic Force,
Duran Duran,
The Smoke,
The Gun Club,
Rhythm & Sound,
Eric B and Rakim, Eric B and Rakim, Eric B and Rakim, Eric B and Rakim.
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.