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 Guinea and from Winnipeg.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Stockholm.
I'm losing my edge to the art-school Beijing 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 Michael McDonald 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 Marmalade to the techno 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 Ultimate Spinach. All the underground hits.
All Joensuu 1685 tracks. I heard you have a vinyl of every Section 25 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 '50s cut and another box set from the '90s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Rakim,
Oblivians,
Selector Dub Narcotic,
Radiopuhelimet,
CMW,
Brass Construction,
Massinfluence,
Ituana,
FM Einheit,
The Red Krayola,
Marmalade,
Black Flag,
Robert Hood,
World's Most,
Dead Boys,
Charles Mingus,
Funkadelic,
Suburban Knight,
The Wake,
Deakin,
The Doobie Brothers,
Ken Boothe,
Model 500,
MC5,
Steve Hackett,
Magma,
Pulsallama,
Fluxion,
The Walker Brothers,
Simply Red,
Niagra,
Notorious Big And Bone Thugs,
Lou Reed,
The J.B.'s,
Supertramp,
Thompson Twins,
Lucky Dragons,
Von Mondo,
Subhumans,
Ralphi Rosario,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jesper Dahlbäck,
Adolescents,
Wally Richardson,
Laurel Aitken,
The Zeros,
Graham Central Station,
Whodini,
Drexciya,
Ohio Players,
The Pop Group,
Sister Nancy,
The Cosmic Jokers,
The Sisters of Mercy,
Trumans Water,
H. Thieme,
James Chance & The Contortions,
Black Moon,
Japan,
Liliput,
Hasil Adkins,
Liaisons Dangereuses,
Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago, Art Ensemble Of Chicago.
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.