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 Estonia and from Woodstock.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Madrid and Portland.
I'm losing my edge to the art-school Madrid 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 arpeggiator 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 Unrelated Segments to the punk kids.
I played it at the Astoria.
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 Camron Feat. Jay Z And Juelz. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every Cal Tjader 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
Art Ensemble Of Chicago,
Drive Like Jehu,
Roxy Music,
Interpol,
Moby Grape,
Morten Harket,
Throbbing Gristle,
Underground Resistance,
Sällskapet,
Wally Richardson,
The Smiths,
Todd Terry,
John Lydon,
Hoover,
Teenage Jesus and the Jerks,
The Fall,
The Electric Prunes,
Robert Wyatt,
Urselle,
Duran Duran,
Spoonie Gee,
Scott Walker,
The Blackbyrds,
Index,
Davy DMX,
Rod Modell,
Lalann,
The Human League,
Main Source,
Ronan,
Judy Mowatt,
Sonic Youth,
The Victims,
Andrew Ashong & Theo Parrish,
Skriet,
Popol Vuh,
Jacques Brel,
Nirvana,
Black Sheep,
James White and The Blacks,
Con Funk Shun,
Bauhaus,
The Cowsills,
Sun City Girls,
Ultravox,
Bobby Hutcherson,
Joyce Sims,
Echospace,
The Moleskins,
The Raincoats,
Deakin,
Wasted Youth,
The Divine Comedy,
The Slits,
Wighnomy Brothers & Robag Wruhme,
the Human League,
Lyres,
the Slits,
Rekid,
Y Pants,
Sarah Menescal,
Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith, Jerry Gold Smith.
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.