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 Chile and from Bremen.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Jakarta and New York.
I'm losing my edge to the art-school Copenhagen 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 sitar 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 Oppenheimer Analysis to the grime kids.
I played it at CBGB's.
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 Davy DMX. All the underground hits.
All Laurel Aitken tracks. I heard you have a vinyl of every Minor Threat record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a A Certain Ratio record.
I hear that you and your band have sold your organ and bought a sitar.
I hear that you and your band have sold your sitar and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Freddie Wadling,
Ornette Coleman,
Sonny Sharrock,
Terrestrial Tones,
Crime,
Marmalade,
Prince Buster,
Jandek,
Minnie Riperton,
Peter & Gordon,
Yellowson,
Glambeats Corp.,
Soft Cell,
Matthew Bourne,
Scott Walker,
Arcadia,
Roy Ayers Ubiquity,
New Age Steppers,
Los Fastidios,
The Gun Club,
The Music Machine,
Eyeless In Gaza,
Marcia Griffiths,
Lebanon Hanover,
Alice Coltrane,
Flash Fearless,
Wighnomy Brothers & Robag Wruhme,
Gastr Del Sol,
Swans,
Fad Gadget,
Rowland S Howard / Lydia Lunch,
Sexual Harrassment,
Von Mondo,
Joe Smooth,
Dark Day,
The Leaves,
Throbbing Gristle,
Sarah Menescal,
Tomorrow,
Qualms,
Marshall Jefferson,
Maleditus Sound,
Parry Music,
cv313,
Jawbox,
Young Marble Giants,
Jacob Miller,
Bush Tetras,
Marvin Gaye,
Public Enemy,
Radio Birdman,
The Young Rascals,
Barry Ungar,
Youth Brigade,
Blancmange,
Andrew Ashong & Theo Parrish,
Wire,
Sandy B,
The Offenders,
Lalann,
Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam.
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.