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 Trinidad & Tobago and from Salvador.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1968 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Jakarta.
I'm losing my edge to the art-school Edmonton 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 synthesizer 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 Marine Girls to the grunge kids.
I played it at the Crocodile.
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 Bauhaus. All the underground hits.
All Lakeside tracks. I heard you have a vinyl of every Ken Boothe record on German import.
I heard that you have a white label of every seminal grime 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 theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Terrestrial Tones record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ice-T,
Porter Ricks,
Rakim,
Funky Four + One,
Blancmange,
Ajijia Myrayebe,
Gregory Isaacs,
Parry Music,
Rhythm & Sound,
The Grass Roots,
Zero Boys,
R.M.O.,
Cymande,
Cecil Taylor,
Skriet,
Lalo Schifrin,
FM Einheit,
Michelle Simonal,
Jerry's Kids,
Howard Jones,
Pantytec,
8 Eyed Spy,
Wings,
Siglo XX,
Lower 48,
Marine Girls,
Agent Orange,
Neu!,
The Walker Brothers,
the Soft Cell,
Buzzcocks,
John Coltrane,
Girls At Our Best!,
Matthew Halsall,
Nils Olav,
Kevin Saunderson,
Godley & Creme,
Liliput,
Surgeon,
Faraquet,
Strawberry Alarm Clock,
The Invisible,
Anthony Braxton,
Subhumans,
Roy Ayers,
Radio Birdman,
Mark Hollis,
UT,
Oblivians,
Jeff Lynne,
Mars,
Au Pairs,
Nik Kershaw,
Bill Near,
Essential Logic,
Symarip,
Tears for Fears,
Los Fastidios,
Jandek,
The Index,
Susan Cadogan,
Brand Nubian,
Dennis Brown,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.