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 Mali and from Jakarta.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Salvador and Mexico City.
I'm losing my edge to the art-school Stockholm 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 synthesizer 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 Rod Modell to the rap kids.
I played it at Trash.
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 The Birthday Party. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Slave record on German import.
I heard that you have a white label of every seminal crunk 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 snare and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jacob Miller,
Japan,
Ultimate Spinach,
Laurel Aitken,
Oppenheimer Analysis,
The Index,
The Fall,
Jeru the Damaja,
10cc,
Sam Rivers,
Pole,
The Angels of Light,
Magazine,
Reagan Youth,
Alton Ellis,
JFA,
Basic Channel,
the Fania All-Stars,
Thompson Twins,
Camouflage,
the Human League,
Masters at Work,
a-ha,
Josef K,
Sexual Harrassment,
Guru Guru,
Throbbing Gristle,
Pete Rock & C.L. Smooth,
Pantytec,
Howard Jones,
Lakeside,
The Smiths,
The Neon Judgement,
Bush Tetras,
Hashim,
Soft Machine,
Stiv Bators,
Steve Hackett,
The Seeds,
Tres Demented,
Alison Limerick,
KRS-One,
Siouxsie and the Banshees,
the Slits,
Popol Vuh,
The United States of America,
Bill Wells,
Rhythm & Sound,
Ohio Players,
Juan Atkins,
Tim Buckley,
Brass Construction,
Suburban Knight,
Kings Of Tomorrow,
Ronnie Foster,
E-Dancer,
Suicide,
The Busters,
X-102, X-102, X-102, X-102.
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.