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 Gabon and from Delhi.
But I was there.
I was there in .
I was there at the first Suicide 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 1960 to 1978.
I'm losing my edge.
To all the kids in Manchester and Sao Paulo.
I'm losing my edge to the art-school Tehran 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 chamberlin 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 ABBA 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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane. All the underground hits.
All The Trojans tracks. I heard you have a vinyl of every The Moleskins record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Swans record.
I hear that you and your band have sold your theremin and bought an oboe.
I hear that you and your band have sold your oboe and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
The Associates,
Dorothy Ashby,
Anakelly,
Hardrive,
Cymande,
Stockholm Monsters,
Lebanon Hanover,
The Invisible,
DeepChord presents Echospace,
the Sonics,
Massinfluence,
KRS-One,
Jimmy McGriff,
Quadrant,
Simply Red,
Frankie Knuckles,
Anthony Braxton,
Animal Collective,
Jerry Gold Smith,
Sam Rivers,
The Neon Judgement,
Magazine,
The Pop Group,
Loose Ends,
The Offenders,
Sixth Finger,
Ossler,
Siglo XX,
Average White Band,
Girls At Our Best!,
Jesper Dahlbäck,
Arab on Radar,
Soft Cell,
Ornette Coleman,
Prince Buster,
A Certain Ratio,
Radio Birdman,
Ralphi Rosario,
Qualms,
The Index,
10cc,
The Dead C,
Gabor Szabo,
Ash Ra Tempel,
The Five Americans,
Ronnie Foster,
Crime,
Con Funk Shun,
Bill Near,
Art Ensemble Of Chicago,
Joyce Sims,
the Slits,
Black Pus,
Electric Light Orchestra,
Throbbing Gristle,
Silicon Teens,
Wighnomy Brothers & Robag Wruhme,
the Fania All-Stars,
Black Flag,
Faraquet,
Kings Of Tomorrow,
The Mummies,
MDC, MDC, MDC, MDC.
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.