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 Congo and from Lyon.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1969 to 1974.
I'm losing my edge.
To all the kids in Manchester and Philadelphia.
I'm losing my edge to the art-school Copenhagen 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 snare sounds with much patience.
I was there when Nile Rodgers 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 T. Rex to the rap kids.
I played it at Cafe Wha.
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 It's A Beautiful Day. All the underground hits.
All Janne Schatter tracks. I heard you have a vinyl of every The Mighty Diamonds record on German import.
I heard that you have a white label of every seminal punk 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 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Infiniti record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
Das Ding,
Quadrant,
Pantaleimon,
DNA,
Traffic Nightmare,
Motorama,
LL Cool J,
Jimmy McGriff,
D'Angelo,
Faraquet,
The Index,
Juan Atkins,
Peter & Gordon,
Depeche Mode,
Quando Quango,
The Happenings,
Quantec,
Susan Cadogan,
U.S. Maple,
ABC,
Robert Görl,
Glenn Branca,
Camron Feat. Memphis Bleek And Beenie Seigel,
Avey Tare's Slasher Flicks,
Infiniti,
Black Bananas,
Flash Fearless,
Second Layer,
Masters at Work,
Roy Ayers,
The Last Poets,
Magma,
The Toasters,
Orchestral Manoeuvres in the Dark,
The West Coast Pop Art Experimental Band,
The Alarm Clocks,
Liaisons Dangereuses,
Monolake,
Johnny Clarke,
Grandmaster Flash,
Letta Mbulu,
World's Most,
R.M.O.,
Babytalk,
Marc Almond,
X-Ray Spex,
Soul Sonic Force,
Fort Wilson Riot,
Little Man,
Marcia Griffiths,
10cc,
Curtis Mayfield,
Johnny Osbourne,
Moby Grape,
Pylon,
Barclay James Harvest,
Theoretical Girls,
Joe Smooth,
Sister Nancy,
Ash Ra Tempel,
Kaleidoscope,
The Golliwogs,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.