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 Liberia and from Bologna.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Paris and Winnipeg.
I'm losing my edge to the art-school Woodstock 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 clarinet sounds with much patience.
I was there when Holger Czukay 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 Nick Fraelich to the funk kids.
I played it at the Roxy.
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 Flipper. All the underground hits.
All Soul II Soul tracks. I heard you have a vinyl of every Magazine 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 '70s cut and another box set from the '80s.
I hear you're buying a güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Loose Ends,
Quadrant,
Major Organ And The Adding Machine,
Manfred Mann's Earth Band,
Avey Tare,
JFA,
Rites of Spring,
Sister Nancy,
Cameo,
Popol Vuh,
The Durutti Column,
John Coltrane,
Juan Atkins,
Spandau Ballet,
Nation of Ulysses,
Hardrive,
Vaughan Mason & Crew,
Outsiders,
Gang Green,
Spoonie Gee,
Lou Reed & John Cale,
Kaleidoscope,
MDC,
Neil Young & Crazy Horse,
Röyhkä ja Rättö ja Lehtisalo,
Pole,
A Certain Ratio,
Heaven 17,
Derrick Morgan,
Section 25,
Cybotron,
Kenny Larkin,
Moebius,
Idris Muhammad,
A Flock of Seagulls,
Mars,
Ronnie Foster,
X-Ray Spex,
World's Most,
The Cowsills,
X-101,
Hoover,
Kings Of Tomorrow,
Lou Reed & Metallica,
Bobby Hutcherson,
Agent Orange,
Zapp,
Eric Copeland,
The Seeds,
Joyce Sims,
Camron Feat. Jay Z And Juelz,
Skaos,
Tropical Tobacco,
MC5,
Lakeside,
Flamin' Groovies,
The Fugs,
the Fania All-Stars,
Fugazi,
The West Coast Pop Art Experimental Band,
Eden Ahbez,
Mr. Review,
The Dirtbombs, The Dirtbombs, The Dirtbombs, The Dirtbombs.
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.