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 Equatorial Guinea and from Philadelphia.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1977.
I'm losing my edge.
To all the kids in Manchester and Edmonton.
I'm losing my edge to the art-school Glasgow 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 marimba sounds with much patience.
I was there when Lou Reed 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 Radiopuhelimet 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 Ludus. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every Sticky Fingaz feat. Raekwon record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swans,
Soul Sonic Force,
Wally Richardson,
Black Pus,
Slick Rick,
Man Parrish,
The Wake,
Gang of Four,
Notorious Big And Bone Thugs,
Zapp,
Pole,
Mars,
Main Source,
The Black Dice,
Gong,
Althea and Donna,
Liliput,
48th St. Collective,
Schoolly D,
Moss Icon,
The Smiths,
John Cale,
Cybotron,
Johnny Clarke,
The Neon Judgement,
Brand Nubian,
The Offenders,
Neil Young & Crazy Horse,
Pharoah Sanders,
The Sonics,
Patti Smith,
Bob Dylan,
Subhumans,
World's Most,
Pylon,
Rapeman,
Beasts of Bourbon,
Alison Limerick,
The Real Kids,
Eli Mardock,
Ultra Naté,
Duran Duran,
The Kinks,
the Soft Cell,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ponytail,
Glambeats Corp.,
Ice-T,
The Evens,
Susan Cadogan,
Grey Daturas,
Harmonia,
Stetsasonic,
Fela Kuti,
Bang On A Can,
Deakin,
Juan Atkins,
Rod Modell,
Joey Negro,
Röyhkä ja Rättö ja Lehtisalo,
Peter Gordon & Love of Life Orchestra,
Cecil Taylor,
Siouxsie and the Banshees,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.