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 Korea South and from New York.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1972.
I'm losing my edge.
To all the kids in London and Tokyo.
I'm losing my edge to the art-school Bremen 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 guitar sounds with much patience.
I was there when Tom Verlaine 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 Gil Scott-Heron and Jamie xx to the electroclash kids.
I played it at Cafe Wha.
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 Stereo Dub. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every Loose Ends record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Isaac Hayes record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sight & Sound,
Oblivians,
Infiniti,
The Kinks,
Black Moon,
Piero Umiliani,
David McCallum,
Eli Mardock,
Model 500,
cv313,
Malaria!,
Marc Almond,
Unwound,
Pagans,
Nils Olav,
Michelle Simonal,
Rhythm & Sound,
Kevin Saunderson,
Kenny Larkin,
the Human League,
Tommy Roe,
Pete Rock & C.L. Smooth,
PIL,
Cameo,
Country Teasers,
Joe Smooth,
Sällskapet,
Aloha Tigers,
Donald Byrd,
Surgeon,
Mad Mike,
EPMD,
X-101,
Heaven 17,
Outsiders,
Slick Rick,
Public Image Ltd.,
Carl Craig,
Warsaw,
Matthew Halsall,
Average White Band,
Young Marble Giants,
Cymande,
New Order,
The Residents,
Glambeats Corp.,
Tres Demented,
Sun Ra,
Pierre Henry,
Tears for Fears,
Bobby Womack,
Groovy Waters,
Nico,
Q and Not U,
Jesper Dahlback,
Oneida,
Suburban Knight,
Main Source,
Robert Görl,
Richard Hell and the Voidoids,
Erykah Badu,
Minor Threat, Minor Threat, Minor Threat, Minor Threat.
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.