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 Mumbai.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Tehran and London.
I'm losing my edge to the art-school Lagos 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 rhodes sounds with much patience.
I was there when Captain Beefheart 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 Das Ding to the electroclash kids.
I played it at the Crocodile.
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 Be Bop Deluxe. All the underground hits.
All The Fall tracks. I heard you have a vinyl of every MC5 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Kings Of Tomorrow record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
Yellowson,
The Young Rascals,
Marc Almond,
Malaria!,
Sugar Minott,
Albert Ayler,
Eli Mardock,
Cal Tjader,
Sarah Menescal,
The Busters,
Crispian St. Peters,
Royal Trux,
John Foxx,
Vaughan Mason & Crew,
the Bar-Kays,
Subhumans,
Gang of Four,
Kerrie Biddell,
Index,
Bluetip,
Inner City,
In Retrospect,
Scan 7,
Davy DMX,
Black Sheep,
Howard Jones,
A Flock of Seagulls,
Sonny Sharrock,
Heaven 17,
Dark Day,
Lou Reed & Metallica,
Scientists,
The West Coast Pop Art Experimental Band,
Gil Scott-Heron and Jamie xx,
Kerri Chandler,
Crash Course in Science,
Radio Birdman,
Scratch Acid,
Throbbing Gristle,
John Cale,
the Soft Cell,
Bob Dylan,
Camberwell Now,
Fear,
Ohio Players,
Bootsy's Rubber Band,
Brick,
Jeru the Damaja,
The Buckinghams,
Pete Rock & C.L. Smooth,
Don Cherry,
Stiv Bators,
Girls At Our Best!,
Rowland S Howard / Lydia Lunch,
Kaleidoscope,
Art Ensemble Of Chicago,
Kango’s Stein Massive,
Roxette,
The Royal Family And The Poor,
Sixth Finger,
The Gladiators, The Gladiators, The Gladiators, The Gladiators.
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.