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 Croatia and from Salvador.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Milan and Spokane.
I'm losing my edge to the art-school Shanghai 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 synthesizer sounds with much patience.
I was there when Michael McDonald 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 Jeff Mills to the disco 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 Marvin Gaye. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every Kevin Saunderson record on German import.
I heard that you have a white label of every seminal crunk 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 a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Monks record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris & Cosey,
Warren Ellis,
Neil Young & Crazy Horse,
The Toasters,
Popol Vuh,
Henry Cow,
Dawn Penn,
China Crisis,
Moss Icon,
Wings,
The American Breed,
Brick,
Ronan,
Susan Cadogan,
Amazonics,
Big Daddy Kane,
Siouxsie and the Banshees,
Michelle Simonal,
Girls At Our Best!,
Soul II Soul,
Arab on Radar,
Quantec,
Kaleidoscope,
Audionom,
Pere Ubu,
Roger Hodgson,
Grandmaster Flash and the Furious Five,
Steve Hackett,
Kenny Larkin,
Barry Ungar,
The Raincoats,
Sam Rivers,
Don Cherry,
Teenage Jesus and the Jerks,
Gabor Szabo,
Eric B and Rakim,
Stiv Bators,
Mad Mike,
Skaos,
JFA,
The Beau Brummels,
The Young Rascals,
Iggy Pop,
Black Moon,
Crispy Ambulance,
Rosa Yemen,
the Normal,
Mars,
Fugazi,
Deakin,
Byron Stingily,
The Fire Engines,
The Angels of Light,
Deadbeat,
Camron Feat. Memphis Bleek And Beenie Seigel,
Skriet,
Sound Behaviour,
Gerry Rafferty,
Frankie Knuckles,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.