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 Namibia and from Toronto.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1964 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Stockholm.
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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 The Dirtbombs to the grunge 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 Mantronix. All the underground hits.
All Letta Mbulu tracks. I heard you have a vinyl of every Anakelly 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 '80s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your sitar and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Men They Couldn't Hang,
Swell Maps,
Wolf Eyes,
Bad Manners,
Oppenheimer Analysis,
Gil Scott Heron,
Model 500,
Heaven 17,
Franke,
Stereo Dub,
Art Ensemble Of Chicago,
Glambeats Corp.,
Kevin Saunderson,
Excepter,
Mars,
Magazine,
The Pop Group,
The Mummies,
R.M.O.,
Idris Muhammad,
K-Klass,
Camron Feat. Jay Z And Juelz,
Funkadelic,
Alison Limerick,
Lightning Bolt,
Basic Channel,
Max Romeo,
Soft Machine,
The Cure,
The Jesus and Mary Chain,
Big Daddy Kane,
Marc Almond,
The Cowsills,
Mo-Dettes,
Sound Behaviour,
Mary Jane Girls,
Archie Shepp,
Fluxion,
Frankie Knuckles,
Mark Hollis,
Technova,
Stiv Bators,
Josef K,
The Walker Brothers,
MC5,
Flash Fearless,
The Kinks,
This Heat,
Hardrive,
Simply Red,
Pole,
Rhythm & Sound,
Sight & Sound,
The Grass Roots,
Laurel Aitken,
Sun Ra,
Todd Terry,
The Divine Comedy,
Country Teasers,
Motorama,
Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants, Sad Lovers and Giants.
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.