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 Sierra Leone and from Madrid.
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 1962 to 1974.
I'm losing my edge.
To all the kids in New York and Houston.
I'm losing my edge to the art-school Tokyo 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Radiopuhelimet to the rap 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 Idris Muhammad. All the underground hits.
All Ten City tracks. I heard you have a vinyl of every Slick Rick record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Pete Rock & C.L. Smooth record.
I hear that you and your band have sold your harpsichord and bought a guitar.
I hear that you and your band have sold your guitar and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultramagnetic MC's,
The Victims,
Goldenarms,
Drive Like Jehu,
La Düsseldorf,
Technova,
The Fugs,
Boredoms,
Stetsasonic,
Strawberry Alarm Clock,
Moebius,
Young Marble Giants,
Sly & The Family Stone,
Gian Franco Pienzio,
Amon Düül,
Eden Ahbez,
Crispian St. Peters,
Crispy Ambulance,
KRS-One,
Crash Course in Science,
Q and Not U,
Mo-Dettes,
Eric Copeland,
Larry & the Blue Notes,
Ornette Coleman,
Lou Reed & John Cale,
Scratch Acid,
Dr. Dre and Snoop Doggy Dog,
Sixth Finger,
Lou Reed & Metallica,
Lou Christie,
Davy DMX,
Eyeless In Gaza,
Guru Guru,
Sister Nancy,
Marmalade,
Mark Hollis,
Ash Ra Tempel,
the Soft Cell,
Derrick May,
Boogie Down Productions,
Simply Red,
Half Japanese,
Grandmaster Flash,
Harpers Bizarre,
Ten City,
Peter and Kerry,
Roger Hodgson,
Gang Gang Dance,
JFA,
Jesper Dahlbäck,
Skaos,
The Skatalites,
Inner City,
Jerry Gold Smith,
Aaron Thompson,
Black Bananas,
The Fire Engines,
Ossler,
Blancmange,
Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch, Rowland S Howard / Lydia Lunch.
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.