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 Ukraine and from Toronto.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1960 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Manchester.
I'm losing my edge to the art-school Cairo 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 808 sounds with much patience.
I was there when Nile Rodgers 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 Major Organ And The Adding Machine to the crunk 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 Hardrive. All the underground hits.
All The Fall tracks. I heard you have a vinyl of every Derrick Morgan 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 '80s cut and another box set from the '90s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Bang on a Can All-Stars record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mantronix,
Vladislav Delay,
The Last Poets,
Roy Ayers Ubiquity,
Scratch Acid,
Pet Shop Boys,
Das Ding,
The Misunderstood,
Oppenheimer Analysis,
Jesper Dahlbäck,
Young Marble Giants,
Anthony Braxton,
Metal Thangz,
Half Japanese,
The Alarm Clocks,
Morten Harket,
Marshall Jefferson,
Nas,
Ten City,
John Coltrane,
Spandau Ballet,
Stiv Bators,
Groovy Waters,
Essential Logic,
Lindisfarne,
Bronski Beat,
Ronnie Foster,
UT,
The Offenders,
Japan,
Gang of Four,
The New Christs,
Ice-T,
Dead Boys,
Lungfish,
Supertramp,
Sister Nancy,
Stereo Dub,
The Vogues,
Gichy Dan,
Sight & Sound,
Marmalade,
Trumans Water,
Popol Vuh,
Newcleus,
Livin' Joy,
Magma,
The Evens,
The Pretty Things,
The Sound,
Harpers Bizarre,
CMW,
Deadbeat,
The Saints,
H. Thieme,
Malaria!,
Brand Nubian,
a-ha,
Dawn Penn,
Wings,
Altered Images,
Todd Rundgren,
Ohio Players,
The Birthday Party,
Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry, Red Lorry Yellow Lorry.
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.