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 Uzbekistan and from Spokane.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1964 to 1979.
I'm losing my edge.
To all the kids in Cairo and Hong Kong.
I'm losing my edge to the art-school Winnipeg 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the mellotron sounds with much patience.
I was there when Holger Czukay 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 Ajijia Myrayebe to the punk 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 Goldenarms. All the underground hits.
All Heavy D & The Boyz tracks. I heard you have a vinyl of every The United States of America record on German import.
I heard that you have a white label of every seminal rap 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 linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ken Boothe record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faust,
The Pop Group,
Deakin,
The Men They Couldn't Hang,
The New Christs,
Andrew Hill,
The Detroit Cobras,
Make Up,
Gabor Szabo,
Shoche,
Saccharine Trust,
Danielle Patucci,
Marc Almond,
Brick,
Charles Mingus,
The Index,
New York Dolls,
Agitation Free,
The Jesus and Mary Chain,
A Certain Ratio,
Public Image Ltd.,
Siouxsie and the Banshees,
Animal Collective,
Dark Day,
The Knickerbockers,
Lindisfarne,
The Standells,
Avey Tare's Slasher Flicks,
Loose Ends,
Stockholm Monsters,
JFA,
Magazine,
X-102,
Pole,
The Sonics,
Sonny Sharrock,
Little Man,
Spoonie Gee,
Pete Rock & C.L. Smooth,
Scion,
Graham Central Station,
The Kinks,
Althea and Donna,
Matthew Halsall,
Stereo Dub,
This Heat,
Jerry's Kids,
Judy Mowatt,
The Saints,
Mr. Review,
Clear Light,
The Motions,
Dr. Dre and Snoop Doggy Dog,
PIL,
Royal Trux,
Alice Coltrane,
Heaven 17,
The Gap Band,
the Germs,
Aaron Thompson,
Half Japanese,
The Red Krayola, The Red Krayola, The Red Krayola, The Red Krayola.
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.