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 Korea South and from Taipei.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Woodstock.
I'm losing my edge to the art-school Columbus 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 sitar 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 The Five Americans to the rock kids.
I played it at the Roxy.
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 B.T. Express. All the underground hits.
All Metal Thangz tracks. I heard you have a vinyl of every Cecil Taylor record on German import.
I heard that you have a white label of every seminal techno 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 clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Scan 7 record.
I hear that you and your band have sold your snare and bought a sitar.
I hear that you and your band have sold your sitar and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pere Ubu,
Y Pants,
Brass Construction,
Kango’s Stein Massive,
The Smoke,
Arthur Verocai,
Anthony Braxton,
The Music Machine,
The Slackers,
Soft Machine,
X-101,
Organ,
Rowland S Howard / Lydia Lunch,
The Toasters,
Fluxion,
Joe Smooth,
Aloha Tigers,
David Bowie,
Kerri Chandler,
Das Ding,
Barclay James Harvest,
The Leaves,
Derrick May,
The Mojo Men,
Skriet,
Unwound,
Bill Near,
Quando Quango,
Marshall Jefferson,
Boogie Down Productions,
Neil Young & Crazy Horse,
B.T. Express,
Harry Pussy,
Wighnomy Brothers & Robag Wruhme,
Sight & Sound,
Flash Fearless,
Oneida,
Blancmange,
Deutsch Amerikanische Freundschaft,
Ronan,
Sarah Menescal,
Grandmaster Flash and the Furious Five,
Sällskapet,
Marine Girls,
Pole,
Blake Baxter,
New Order,
Technova,
the Soft Cell,
Deakin,
Nirvana,
Porter Ricks,
Mo-Dettes,
Albert Ayler,
Symarip,
The Last Poets,
Lalo Schifrin,
Warsaw,
Silicon Teens,
Gerry Rafferty,
cv313,
The Motions,
Funky Four + One,
Popol Vuh, Popol Vuh, Popol Vuh, Popol Vuh.
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.