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 Bolivia and from Mumbai.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1974.
I'm losing my edge.
To all the kids in Spokane and Columbus.
I'm losing my edge to the art-school Mexico City 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Moebius to the electroclash kids.
I played it at the Troubador.
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 Thompson Twins. All the underground hits.
All Joy Division tracks. I heard you have a vinyl of every Anthony Braxton 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 '70s cut and another box set from the '90s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your theremin and bought a sitar.
I hear that you and your band have sold your sitar and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Golliwogs,
the Association,
Kurtis Blow,
L. Decosne,
Dark Day,
Pylon,
Depeche Mode,
Terror Squad Feat. Camron,
Japan,
Kool G Rap & DJ Polo,
Banda Bassotti,
James White and The Blacks,
Electric Prunes,
The Motions,
The Chocolate Watch Band,
The Searchers,
Notorious BIG live in Amsterdam,
T. Rex,
Crooked Eye,
Super Lover Cee & Casanova Rud,
Tears for Fears,
Cybotron,
The Blackbyrds,
June of 44,
The Dirtbombs,
Susan Cadogan,
Quando Quango,
Lizzy Mercier Descloux,
The Moleskins,
Second Layer,
Kaleidoscope,
Joyce Sims,
The Gap Band,
Reagan Youth,
The Red Krayola,
Audionom,
Archie Shepp,
The Pretty Things,
Bobby Sherman,
Curtis Mayfield,
Arthur Verocai,
John Coltrane,
The Misunderstood,
Tres Demented,
Marmalade,
Rosa Yemen,
Kevin Saunderson,
Average White Band,
Make Up,
Spoonie Gee,
Joe Smooth,
The Flesh Eaters,
Ultramagnetic MC's,
Gil Scott-Heron and Jamie xx,
Agitation Free,
Idris Muhammad,
Eyeless In Gaza,
The Stooges,
Bad Manners,
Donald Byrd,
Oneida, Oneida, Oneida, Oneida.
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.