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 Somalia and from Cairo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Seoul.
I'm losing my edge to the art-school Delhi 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 güiro 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 Nation of Ulysses to the rock kids.
I played it at Trash.
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 Public Enemy. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every Traffic Nightmare record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Trumans Water,
X-102,
The Blues Magoos,
James Chance & The Contortions,
The West Coast Pop Art Experimental Band,
The Slits,
Kool G Rap & DJ Polo,
Grandmaster Flash,
The Victims,
The Flesh Eaters,
Adolescents,
AZ,
Roy Ayers Ubiquity,
Henry Cow,
Girls At Our Best!,
Sexual Harrassment,
Charles Mingus,
Newcleus,
Mantronix,
Hasil Adkins,
Black Pus,
Jesper Dahlback,
Minny Pops,
Vladislav Delay,
Boredoms,
Barrington Levy,
Marine Girls,
Oppenheimer Analysis,
Section 25,
Curtis Mayfield,
Bobby Hutcherson,
Joe Smooth,
Pussy Galore,
Hot Snakes,
The Gladiators,
The New Christs,
Grandmaster Flash and the Furious Five,
Johnny Osbourne,
The Residents,
Derrick Morgan,
Leonard Cohen,
OOIOO,
Khruangbin,
Thinking Fellers Union Local 282,
The Detroit Cobras,
Pulsallama,
Davy DMX,
Underground Resistance,
Das Ding,
Franke,
Loose Ends,
Accadde A,
Cymande,
Pere Ubu,
Moby Grape,
Agitation Free,
Soft Cell,
Procol Harum,
The Music Machine,
Jesper Dahlbäck,
John Cale,
Delta 5,
Eric Dolphy,
Judy Mowatt, Judy Mowatt, Judy Mowatt, Judy Mowatt.
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.