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 Ethiopia and from Hong Kong.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1966 to 1973.
I'm losing my edge.
To all the kids in Mumbai and Tokyo.
I'm losing my edge to the art-school Seoul 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 snare sounds with much patience.
I was there when Nile Rodgers 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 Litter to the dance 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 Masters at Work. All the underground hits.
All Saccharine Trust tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band record on German import.
I heard that you have a white label of every seminal disco 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 oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Crispian St. Peters record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joensuu 1685,
Brick,
Larry & the Blue Notes,
Siouxsie and the Banshees,
Mantronix,
Monolake,
T.S.O.L.,
Lightning Bolt,
Camouflage,
Leonard Cohen,
Eric Copeland,
Brothers Johnson,
Fad Gadget,
Pole,
Soft Machine,
Ohio Players,
The Music Machine,
Scientists,
A Certain Ratio,
Sällskapet,
Pantaleimon,
Peter and Kerry,
Stiv Bators,
Los Fastidios,
The Associates,
Radiopuhelimet,
Harry Pussy,
The Blues Magoos,
Aural Exciters,
Davy DMX,
Bad Manners,
Scan 7,
Pere Ubu,
the Swans,
Cecil Taylor,
John Cale,
OOIOO,
The Gap Band,
Delta 5,
It's A Beautiful Day,
Young Marble Giants,
Stereo Dub,
Grandmaster Flash and the Furious Five,
London Community Gospel Choir,
The Cramps,
Youth Brigade,
Ultra Naté,
Kings Of Tomorrow,
Crooked Eye,
Ice-T,
Television,
Cameo,
Sarah Menescal,
Eli Mardock,
the Human League,
Idris Muhammad,
The Slits,
The Evens,
Bobby Byrd,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Circle Jerks,
Y Pants,
Arab on Radar,
Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio, Gian Franco Pienzio.
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.