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 Panama and from Tokyo.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1973.
I'm losing my edge.
To all the kids in Mumbai and Delhi.
I'm losing my edge to the art-school Lyon 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 808 sounds with much patience.
I was there when David Bowie 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 to the techno kids.
I played it at the Astoria.
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 Girls At Our Best!. All the underground hits.
All Freddie Wadling tracks. I heard you have a vinyl of every Laurel Aitken record on German import.
I heard that you have a white label of every seminal funk 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 linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hasil Adkins,
Flash Fearless,
the Soft Cell,
Reagan Youth,
Urselle,
Jacob Miller,
Crispian St. Peters,
Ornette Coleman,
Hot Snakes,
MDC,
Isaac Hayes,
Robert Hood,
Little Man,
Monolake,
Selector Dub Narcotic,
La Düsseldorf,
The New Christs,
The Toasters,
48th St. Collective,
Matthew Halsall,
Cal Tjader,
Prince Buster,
Country Teasers,
Warren Ellis,
Sly & The Family Stone,
Whodini,
B.T. Express,
Pulsallama,
Barclay James Harvest,
Crooked Eye,
The Grass Roots,
Toni Rubio,
Vladislav Delay,
Lebanon Hanover,
The Modern Lovers,
Lyres,
Max Romeo,
Johnny Clarke,
Kool Moe Dee,
Godley & Creme,
Joensuu 1685,
Marine Girls,
Gabor Szabo,
Laurel Aitken,
The Golliwogs,
Liaisons Dangereuses,
Thee Headcoats,
Half Japanese,
Ronnie Foster,
Kings Of Tomorrow,
X-102,
The Tremeloes,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Dorothy Ashby,
The Moleskins,
Babytalk,
Electric Light Orchestra,
Leonard Cohen,
Ultra Naté,
Andrew Hill,
Archie Shepp, Archie Shepp, Archie Shepp, Archie Shepp.
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.