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 the UAE and from Spokane.
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 1977.
I'm losing my edge.
To all the kids in Toronto and Bremen.
I'm losing my edge to the art-school Manila 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 The Jesus and Mary Chain to the crunk kids.
I played it at the Troubador.
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 Radiohead. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every Marine Girls record on German import.
I heard that you have a white label of every seminal punk 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 an organ and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Steve Hackett,
Sixth Finger,
Visionaries,LMNO, T- Love & Iriscience,
Model 500,
Dark Day,
Byron Stingily,
The Zeros,
The West Coast Pop Art Experimental Band,
Peter and Kerry,
Pharaoh Sanders and the Fire Engines,
Pussy Galore,
Von Mondo,
Mission of Burma,
Popol Vuh,
Sight & Sound,
The Vogues,
Boogie Down Productions,
Negative Approach,
Sad Lovers and Giants,
Underground Resistance,
Slick Rick,
Ralphi Rosario,
Darondo,
Sonny Sharrock,
Nas,
Man Parrish,
Cybotron,
The Standells,
Massinfluence,
Justin Hinds & The Dominoes,
New York Dolls,
Glambeats Corp.,
Moss Icon,
Oppenheimer Analysis,
Livin' Joy,
Crispian St. Peters,
Roy Ayers Ubiquity,
The Techniques,
AZ,
Robert Hood,
The Electric Prunes,
Lou Reed,
Reuben Wilson,
Gil Scott Heron,
Inner City,
Ornette Coleman,
China Crisis,
Pierre Henry,
Althea and Donna,
Fear,
Guru Guru,
Minnie Riperton,
Procol Harum,
Barry Ungar,
Black Bananas,
Loose Ends,
Notorious Big And Bone Thugs,
Skriet,
Lee Hazlewood,
Arthur Verocai,
Sun Ra Arkestra,
Amon Düül II,
DJ Style,
Rahsaan Roland Kirk,
The Star Department, The Star Department, The Star Department, The Star Department.
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.