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 Libya and from Hong Kong.
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 1969 to 1974.
I'm losing my edge.
To all the kids in London and Bologna.
I'm losing my edge to the art-school Portland 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 spring reverb sounds with much patience.
I was there when Lou Reed 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 La Düsseldorf to the grime kids.
I played it at the Astoria.
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 Matthew Halsall. All the underground hits.
All Public Enemy tracks. I heard you have a vinyl of every Eddi Front record on German import.
I heard that you have a white label of every seminal disco 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 guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Funky Four + One record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mary Jane Girls,
Ronnie Foster,
The Monks,
Echospace,
the Human League,
Severed Heads,
Ice-T,
Rufus Thomas,
Wally Richardson,
Wire,
Easy Going,
Girls At Our Best!,
Magazine,
Schoolly D,
Camron Feat. Memphis Bleek And Beenie Seigel,
Hasil Adkins,
Aaron Thompson,
A Flock of Seagulls,
Radio Birdman,
The Gories,
Neil Young & Crazy Horse,
Echo & the Bunnymen,
Marc Romboy vs. Booka Shade,
Lyres,
Altered Images,
The Blackbyrds,
Archie Shepp,
Glambeats Corp.,
Brick,
Anthony Braxton,
Little Man,
Aloha Tigers,
James Chance & The Contortions,
The Shadows of Knight,
Lonnie Liston Smith,
Bobby Womack,
Gang Green,
Tom Boy,
John Coltrane,
the Swans,
Neu!,
Malaria!,
Arthur Verocai,
Electric Prunes,
Deutsch Amerikanische Freundschaft,
Glenn Branca,
FM Einheit,
Rahsaan Roland Kirk,
June Days,
The Associates,
The New Christs,
Visage,
The Dirtbombs,
Stereo Dub,
The Sisters of Mercy,
Liaisons Dangereuses,
Interpol,
Main Source,
Dual Sessions,
Chrome, Chrome, Chrome, Chrome.
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.