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 Indonesia and from Sao Paulo.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Beijing and Houston.
I'm losing my edge to the art-school Sao Paulo 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 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 Yusef Lateef to the electroclash kids.
I played it at Trash.
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 Black Moon. All the underground hits.
All Tommy Roe tracks. I heard you have a vinyl of every Sex Pistols 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 '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Absolute Body Control,
London Community Gospel Choir,
Terrestrial Tones,
Excepter,
Tropical Tobacco,
the Soft Cell,
Toni Rubio,
Livin' Joy,
OOIOO,
Boredoms,
Pharaoh Sanders and the Fire Engines,
Jandek,
the Human League,
Sight & Sound,
Animal Collective,
Glenn Branca,
Larry & the Blue Notes,
Anakelly,
Roger Hodgson,
The Modern Lovers,
Reuben Wilson,
Barclay James Harvest,
The Trojans,
Sunsets and Hearts,
Bang on a Can All-Stars,
Sällskapet,
T. Rex,
Agent Orange,
The Gories,
Mr. Review,
Television,
Mo-Dettes,
Simply Red,
48th St. Collective,
Jawbox,
Cluster,
H. Thieme,
Yusef Lateef,
Cameo,
Neil Young & Crazy Horse,
Sex Pistols,
Brand Nubian,
Eric Copeland,
Interpol,
Pantytec,
Harry Pussy,
Lee Hazlewood,
UT,
De La Soul & Jungle Brothers,
Au Pairs,
Camron Feat. Jay Z And Juelz,
Nils Olav,
Tears for Fears,
Traffic Nightmare,
Banda Bassotti,
Technova,
Rowland S Howard / Lydia Lunch,
Liliput,
Vainqueur,
Echospace,
Camberwell Now,
The Barracudas,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.