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 Mozambique and from Columbus.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Houston and Lyon.
I'm losing my edge to the art-school Copenhagen 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 spring reverb 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 Isaac Hayes to the disco kids.
I played it at the Troubador.
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 Jeff Mills. All the underground hits.
All Organ tracks. I heard you have a vinyl of every Theoretical Girls record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
Camron Feat. Jay Z And Juelz,
Gerry Rafferty,
Marc Romboy vs. Booka Shade,
The Busters,
Sugar Minott,
Tom Boy,
a-ha,
Ten City,
Warren Ellis,
Stereo Dub,
Letta Mbulu,
The Motions,
Arcadia,
Oppenheimer Analysis,
A Certain Ratio,
Hardrive,
Oneida,
John Lydon,
Unrelated Segments,
DJ Sneak,
Rufus Thomas,
Moss Icon,
Isaac Hayes,
Kurtis Blow,
Stiv Bators,
Procol Harum,
The Black Dice,
Fugazi,
Sparks,
L. Decosne,
Charles Mingus,
The Young Rascals,
Suicide,
Brand Nubian,
Neil Young & Crazy Horse,
Alice Coltrane,
Circle Jerks,
10cc,
The Slits,
Pete Rock & C.L. Smooth,
Mo-Dettes,
Make Up,
Pylon,
Whodini,
The Standells,
The Last Poets,
T.S.O.L.,
Bang On A Can,
Kevin Saunderson,
Banda Bassotti,
Harmonia,
Pharaoh Sanders and the Fire Engines,
Rod Modell,
Moby Grape,
Shuggie Otis,
The American Breed,
T. Rex,
Laurel Aitken,
Eve St. Jones,
Faust, Faust, Faust, Faust.
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.