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 Rwanda and from Mexico City.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Beijing and Lagos.
I'm losing my edge to the art-school Jakarta 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 Tom Verlaine 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 Niagra to the grime kids.
I played it at the Hacienda.
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 Cymande. All the underground hits.
All Gil Scott-Heron and Jamie xx tracks. I heard you have a vinyl of every Oppenheimer Analysis record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lower 48 record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Silicon Teens,
Black Sheep,
Sarah Menescal,
The New Christs,
Yazoo,
Pulsallama,
Delon & Dalcan,
Aural Exciters,
Marc Almond,
Bob Dylan,
Crispy Ambulance,
Notorious BIG live in Amsterdam,
The Misunderstood,
These Immortal Souls,
Eric Dolphy,
Agitation Free,
Trumans Water,
Essential Logic,
Eddi Front,
the Soft Cell,
Deadbeat,
the Fania All-Stars,
Johnny Clarke,
The Peanut Butter Conspiracy,
D'Angelo,
H. Thieme,
Pete Rock & C.L. Smooth,
Joey Negro,
The Human League,
Matthew Halsall,
Gil Scott Heron,
Oblivians,
Marcia Griffiths,
Slave,
Das Ding,
Absolute Body Control,
Grandmaster Flash and the Furious Five,
Buzzcocks,
Basic Channel,
James Chance & The Contortions,
Magazine,
Groovy Waters,
Stetsasonic,
Peter Gordon & Love of Life Orchestra,
Rapeman,
Jerry Gold Smith,
The Knickerbockers,
the Swans,
Lizzy Mercier Descloux,
Curtis Mayfield,
Sonny Sharrock,
World's Most,
The Fugs,
Stiv Bators,
Pagans,
Idris Muhammad,
Josef K,
The Barracudas,
Roxy Music,
Gregory Isaacs,
Wire, Wire, Wire, Wire.
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.