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 Antigua and from Lagos.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1979.
I'm losing my edge.
To all the kids in Hong Kong and London.
I'm losing my edge to the art-school Tehran 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Ponytail to the rap kids.
I played it at the 40 Watt.
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 Prince Buster. All the underground hits.
All Gong tracks. I heard you have a vinyl of every Aloha Tigers record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Guru Guru record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Pus,
Gang Gang Dance,
The Peanut Butter Conspiracy,
Gastr Del Sol,
New York Dolls,
Barry Ungar,
the Swans,
Radiopuhelimet,
Brass Construction,
Barclay James Harvest,
Chris & Cosey,
James White and The Blacks,
Ajijia Myrayebe,
John Coltrane,
The Sisters of Mercy,
Flamin' Groovies,
Junior Murvin,
The Slits,
Don Cherry,
The Saints,
the Slits,
Duran Duran,
The Seeds,
Chrome,
Arcadia,
Agitation Free,
Erasure,
Cybotron,
The Moleskins,
Bill Wells,
L. Decosne,
Nico,
Althea and Donna,
F. McDonald,
Richard Hell and the Voidoids,
Bill Near,
Wolf Eyes,
Basic Channel,
Brick,
The Durutti Column,
Hasil Adkins,
The Shadows of Knight,
Mr. Review,
Fad Gadget,
Intrusion,
Juan Atkins,
Newcleus,
Crispy Ambulance,
Major Organ And The Adding Machine,
Unrelated Segments,
Judy Mowatt,
Marine Girls,
Byron Stingily,
The Smiths,
Notorious Big And Bone Thugs,
Grandmaster Flash and the Furious Five,
The Fire Engines,
Laurel Aitken,
Ossler,
Bootsy Collins,
Heaven 17,
David McCallum,
Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo, Röyhkä ja Rättö ja Lehtisalo.
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.