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 Eritrea and from Portland.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1962 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Taipei.
I'm losing my edge to the art-school Manila 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Man Eating Sloth to the rap kids.
I played it at the Spitz.
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 Lungfish. All the underground hits.
All K-Klass tracks. I heard you have a vinyl of every Arthur Verocai 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 '80s cut and another box set from the '80s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Drive Like Jehu,
Swans,
Alton Ellis,
Inner City,
Harpers Bizarre,
The Techniques,
Lou Christie,
Boredoms,
Spoonie Gee,
Soul Sonic Force,
The Flesh Eaters,
The Music Machine,
Donny Hathaway,
the Soft Cell,
Kurtis Blow,
Jesper Dahlback,
Harry Pussy,
Super Lover Cee & Casanova Rud,
Electric Light Orchestra,
Crash Course in Science,
Piero Umiliani,
Subhumans,
Orchestral Manoeuvres in the Dark,
Jacques Brel,
Qualms,
Morten Harket,
Gian Franco Pienzio,
Be Bop Deluxe,
The Walker Brothers,
Circle Jerks,
Los Fastidios,
Letta Mbulu,
Rod Modell,
Yazoo,
Ornette Coleman,
The Peanut Butter Conspiracy,
Wally Richardson,
Schoolly D,
Darondo,
Kerri Chandler,
The Slits,
Model 500,
Ossler,
The Detroit Cobras,
Roxy Music,
Radiopuhelimet,
Marshall Jefferson,
Tears for Fears,
Massinfluence,
Lizzy Mercier Descloux,
Oneida,
Aural Exciters,
Chrome,
Louis and Bebe Barron,
Kevin Saunderson,
Kauko Röyhkä ja Narttu,
Peter & Gordon,
Tim Buckley,
The Dave Clark Five,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.