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 Portugal and from Toronto.
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 1978.
I'm losing my edge.
To all the kids in Edmonton and Milan.
I'm losing my edge to the art-school Madrid 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 oboe 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 Mark Hollis 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 Infiniti. All the underground hits.
All Lalo Schifrin tracks. I heard you have a vinyl of every Country Joe & The Fish record on German import.
I heard that you have a white label of every seminal electroclash 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 synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Echospace record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
Eve St. Jones,
Tom Boy,
Wolf Eyes,
Charles Mingus,
The Kinks,
Harpers Bizarre,
Kurtis Blow,
New Age Steppers,
Gastr Del Sol,
Ronnie Foster,
Amon Düül,
Arthur Verocai,
Jesper Dahlbäck,
David McCallum,
The Mummies,
Bobby Womack,
The J.B.'s,
The Motions,
Byron Stingily,
Radiohead,
Ash Ra Tempel,
Sonic Youth,
Bush Tetras,
Maurizio,
Brothers Johnson,
Pussy Galore,
Justin Hinds & The Dominoes,
Graham Central Station,
Ornette Coleman,
The Fuzztones,
Danielle Patucci,
Thinking Fellers Union Local 282,
Circle Jerks,
Bizarre Inc.,
Inner City,
The Count Five,
Faust,
Bobby Byrd,
Robert Wyatt,
Howard Jones,
Bill Wells,
Black Bananas,
Robert Hood,
Crime,
Eyeless In Gaza,
A Certain Ratio,
The Martian,
Nirvana,
Pete Rock & C.L. Smooth,
EPMD,
Massinfluence,
Marmalade,
The Monks,
Quando Quango,
Barrington Levy,
Banda Bassotti,
In Retrospect,
Livin' Joy,
Connie Case,
Boz Scaggs,
Derrick May,
The Dave Clark Five, The Dave Clark Five, The Dave Clark Five, The Dave Clark Five.
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.