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 the UAE and from Seoul.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Toronto and Stockholm.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the 808 sounds with much patience.
I was there when Nile Rodgers 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 Invisible to the disco kids.
I played it at the 40 Watt.
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 Girls At Our Best!. All the underground hits.
All The Smoke tracks. I heard you have a vinyl of every Bronski Beat record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Kool G Rap & DJ Polo,
Unwound,
Pantaleimon,
Rakim,
OOIOO,
Section 25,
The Red Krayola,
Mandrill,
The Dead C,
the Bar-Kays,
The Leaves,
Newcleus,
Bootsy Collins,
X-101,
Kerri Chandler,
The Tremeloes,
Jeff Mills,
Gian Franco Pienzio,
Make Up,
Boogie Down Productions,
a-ha,
DJ Sneak,
Sonic Youth,
Tim Buckley,
Henry Cow,
Sonny Sharrock,
Alphaville,
Johnny Osbourne,
Severed Heads,
Neil Young,
Interpol,
Crispy Ambulance,
Sticky Fingaz feat. Raekwon,
Cabaret Voltaire,
Tears for Fears,
the Germs,
Dawn Penn,
Fear,
Talk Talk,
Skaos,
Essential Logic,
Selector Dub Narcotic,
X-Ray Spex,
The American Breed,
Shoche,
La Düsseldorf,
Yaz,
Lizzy Mercier Descloux,
Buzzcocks,
Niagra,
Kauko Röyhkä ja Narttu,
Fugazi,
Robert Görl,
The Fortunes,
Desert Stars,
Jerry Gold Smith,
Albert Ayler,
The Angels of Light,
Juan Atkins,
Röyhkä ja Rättö ja Lehtisalo,
New Age Steppers,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.