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 Kazakhstan and from Madrid.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 Bremen and Sao Paulo.
I'm losing my edge to the art-school Bremen 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 güiro 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 Warren Ellis to the jazz kids.
I played it at CBGB's.
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 James Chance & The Contortions. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every Archie Shepp 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your snare and bought a marimba.
I hear that you and your band have sold your marimba and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Todd Terry,
The Smoke,
Robert Hood,
Howard Jones,
The Alarm Clocks,
MC5,
Dave Gahan,
Pulsallama,
Throbbing Gristle,
Oneida,
Rosa Yemen,
Teenage Jesus and the Jerks,
Darondo,
The Walker Brothers,
Yaz,
The New Christs,
Mantronix,
Arab on Radar,
Bauhaus,
Loose Ends,
Country Teasers,
Intrusion,
Tommy Roe,
Aaron Thompson,
The Names,
Notorious Big And Bone Thugs,
Public Image Ltd.,
The Doobie Brothers,
the Soft Cell,
The Blackbyrds,
The Moleskins,
Scion,
Barrington Levy,
Kenny Larkin,
Bill Near,
Kango’s Stein Massive,
The Techniques,
Crime,
Magazine,
Big Daddy Kane,
Ludus,
Steve Hackett,
Index,
Leonard Cohen,
Henry Cow,
Deepchord,
Goldenarms,
John Cale,
Cybotron,
The Durutti Column,
Inner City,
Eurythmics,
The Slits,
Black Sheep,
Wighnomy Brothers & Robag Wruhme,
Yellowson,
Shuggie Otis,
Mars,
kango's stein massive,
Sunsets and Hearts,
Glambeats Corp.,
Scratch Acid,
The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy, The Peanut Butter Conspiracy.
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.