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 Honduras and from Accra.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1979.
I'm losing my edge.
To all the kids in Bremen and London.
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 guitar 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 Stetsasonic to the techno kids.
I played it at the Hacienda.
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 Pantaleimon. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every Joensuu 1685 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 '80s cut and another box set from the '90s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
Bush Tetras,
Mr. Review,
Minny Pops,
JFA,
Gichy Dan,
Kenny Larkin,
The New Christs,
Bill Near,
Marc Romboy vs. Booka Shade,
Eve St. Jones,
Idris Muhammad,
Half Japanese,
Angry Samoans,
Bang on a Can All-Stars,
Bluetip,
Gian Franco Pienzio,
Scientists,
Drive Like Jehu,
Eyeless In Gaza,
Mad Mike,
Avey Tare & Kría Brekkan,
Art Ensemble Of Chicago,
Robert Hood,
Johnny Clarke,
E-Dancer,
Dual Sessions,
Wings,
Brothers Johnson,
Scan 7,
Marmalade,
The Peanut Butter Conspiracy,
World's Most,
Leonard Cohen,
Boz Scaggs,
Monks,
Laurel Aitken,
The Techniques,
Bobby Womack,
Jeff Mills,
June of 44,
Jacques Brel,
Darondo,
Black Moon,
Reagan Youth,
Rhythim Is Rhythim,
Ice-T,
Justin Hinds & The Dominoes,
Kayak,
Lou Reed & Metallica,
Colin Newman,
The Martian,
The Remains,
Oneida,
The Barracudas,
Subhumans,
Eric B and Rakim,
Juan Atkins,
Lungfish,
A Certain Ratio,
Alice Coltrane,
The Moleskins,
Lyres,
John Lydon, John Lydon, John Lydon, John Lydon.
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.