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 United Kingdom and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Milan and Glasgow.
I'm losing my edge to the art-school Jakarta 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 marimba 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 Agitation Free to the disco kids.
I played it at the Hacienda.
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 Babytalk. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal grime 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 spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Eve St. Jones record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Germs,
Pierre Henry,
The Fuzztones,
Unrelated Segments,
Scion,
Theoretical Girls,
Hasil Adkins,
Silicon Teens,
Cybotron,
Sam Rivers,
Sad Lovers and Giants,
Pharaoh Sanders and the Fire Engines,
Darondo,
Vladislav Delay,
Magma,
Angels of Light & Akron/Family,
Colin Newman,
Visage,
Crispian St. Peters,
Grauzone,
Au Pairs,
The Sound,
Bizarre Inc.,
Massinfluence,
Man Eating Sloth,
Guru Guru,
The Invisible,
the Human League,
Röyhkä ja Rättö ja Lehtisalo,
Tears for Fears,
The Velvet Underground,
Public Image Ltd.,
Soul II Soul,
The Trojans,
The Red Krayola,
Y Pants,
Peter and Kerry,
China Crisis,
Ultramagnetic MC's,
Ohio Players,
Aloha Tigers,
Kauko Röyhkä ja Narttu,
Prince Buster,
The Birthday Party,
Scientists,
Parry Music,
Bobby Byrd,
Roxy Music,
The Misunderstood,
Stockholm Monsters,
F. McDonald,
The Mighty Diamonds,
Black Bananas,
Morten Harket,
The Chocolate Watch Band,
The Young Rascals,
Nick Cave & The Bad Seeds,
Masters at Work,
Trumans Water,
The West Coast Pop Art Experimental Band,
Lou Reed & John Cale,
Juan Atkins, Juan Atkins, Juan Atkins, Juan Atkins.
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.