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 Macedonia and from Lyon.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Delhi.
I'm losing my edge to the art-school Seoul 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 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 Black Moon to the electroclash kids.
I played it at CBGB's.
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 In Retrospect. All the underground hits.
All Soul II Soul tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Arab on Radar record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Junior Murvin,
JFA,
Technova,
Art Ensemble Of Chicago,
Lakeside,
DJ Sneak,
Marshall Jefferson,
The Gun Club,
Warsaw,
Main Source,
X-Ray Spex,
Jerry Gold Smith,
Gang Gang Dance,
Sun Ra Arkestra,
Joyce Sims,
Ponytail,
Sparks,
Strawberry Alarm Clock,
Monolake,
Wire,
Alton Ellis,
Gerry Rafferty,
Silicon Teens,
Byron Stingily,
Shoche,
Traffic Nightmare,
Pagans,
Ronan,
The Black Dice,
Chrome,
Aural Exciters,
the Sonics,
Neil Young & Crazy Horse,
Avey Tare & Kría Brekkan,
Gong,
Amon Düül II,
John Cale,
Goldenarms,
Cal Tjader,
The Busters,
Dennis Brown,
Flipper,
The Remains,
June Days,
Pere Ubu,
Rotary Connection,
Half Japanese,
Theoretical Girls,
Los Fastidios,
Eyeless In Gaza,
Gil Scott-Heron and Jamie xx,
Avey Tare,
Robert Hood,
Infiniti,
Ice-T,
Robert Görl,
Interpol,
Fluxion,
The Offenders,
Oneida,
Eden Ahbez,
X-101,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.