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 Ireland and from Winnipeg.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1971.
I'm losing my edge.
To all the kids in Edmonton and Mexico City.
I'm losing my edge to the art-school Taipei 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 Lungfish to the funk 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 OOIOO. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Nils Olav record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
The Mojo Men,
Bad Manners,
Frankie Knuckles,
Pussy Galore,
Liliput,
Man Eating Sloth,
Jeff Lynne,
Ornette Coleman,
Cybotron,
Electric Light Orchestra,
Parry Music,
Rapeman,
Laurel Aitken,
Lee Hazlewood,
Joyce Sims,
Lou Reed & Metallica,
Deepchord,
The Martian,
Black Bananas,
Jandek,
Alton Ellis,
X-101,
China Crisis,
Jerry Gold Smith,
Idris Muhammad,
Technova,
Wally Richardson,
Bootsy Collins,
Drexciya,
Crispy Ambulance,
Notorious Big And Bone Thugs,
Con Funk Shun,
Dark Day,
Bobbi Humphrey,
Television Personalities,
Camberwell Now,
Pantaleimon,
A Flock of Seagulls,
Television,
Bill Near,
Steve Hackett,
Zero Boys,
The Dirtbombs,
Jawbox,
Ultravox,
Gang Starr,
Blake Baxter,
Guru Guru,
Don Cherry,
Tears for Fears,
Y Pants,
The Leaves,
The New Christs,
Davy DMX,
Metal Thangz,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Kenny Larkin,
Barrington Levy,
Sexual Harrassment,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.