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 Benin and from Johannesburg.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Taipei.
I'm losing my edge to the art-school Calgary 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 sitar 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 Rhythim Is Rhythim to the rock kids.
I played it at the Crocodile.
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 Slave. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Eve St. Jones 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 '70s cut and another box set from the '90s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
The Detroit Cobras,
The Pop Group,
Bang On A Can,
Talk Talk,
Jacob Miller,
Sarah Menescal,
Ice-T,
Dennis Brown,
Funky Four + One,
Brand Nubian,
Janne Schatter,
Suicide,
Black Pus,
Gian Franco Pienzio,
Bobbi Humphrey,
Slave,
Chris & Cosey,
Altered Images,
Gabor Szabo,
Roy Ayers,
Spandau Ballet,
AZ,
Alison Limerick,
Oneida,
Country Teasers,
Fugazi,
Pylon,
These Immortal Souls,
the Fania All-Stars,
Kurtis Blow,
Mars,
Lower 48,
U.S. Maple,
Cabaret Voltaire,
The Evens,
Kauko Röyhkä ja Narttu,
Teenage Jesus and the Jerks,
Zero Boys,
Agent Orange,
The Residents,
Henry Cow,
The Gladiators,
Dawn Penn,
The J.B.'s,
Radio Birdman,
The Happenings,
The Chocolate Watch Band,
Roy Ayers Ubiquity,
MDC,
Avey Tare,
Ultramagnetic MC's,
cv313,
JFA,
Quando Quango,
Terrestrial Tones,
Quadrant,
Sugar Minott,
John Lydon,
Rahsaan Roland Kirk,
Justin Hinds & The Dominoes,
Nick Fraelich,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.