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 Comoros and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Toronto and Glasgow.
I'm losing my edge to the art-school Mexico City 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 Tom Verlaine 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 Boogie Down Productions to the grime 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 Goldenarms. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Lizzy Mercier Descloux record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deepchord,
Jeff Mills,
Glambeats Corp.,
The United States of America,
Lucky Dragons,
John Lydon,
Curtis Mayfield,
Von Mondo,
The Cosmic Jokers,
Prince Buster,
Roy Ayers,
Mad Mike,
Crime,
The Mojo Men,
Idris Muhammad,
The Sonics,
the Bar-Kays,
Masters at Work,
Frankie Knuckles,
Wally Richardson,
Jimmy McGriff,
Radiohead,
Barclay James Harvest,
Kevin Saunderson,
Young Marble Giants,
Flash Fearless,
Leonard Cohen,
Magazine,
Fluxion,
Yusef Lateef,
Michelle Simonal,
Ornette Coleman,
Procol Harum,
Isaac Hayes,
Eric Copeland,
The Peanut Butter Conspiracy,
Electric Light Orchestra,
Buzzcocks,
Art Ensemble Of Chicago,
The Raincoats,
Jandek,
Sparks,
Joe Smooth,
Rowland S Howard / Lydia Lunch,
Make Up,
Visage,
Aural Exciters,
Chris & Cosey,
Crash Course in Science,
Ultimate Spinach,
Clear Light,
Donny Hathaway,
Davy DMX,
Audionom,
Brass Construction,
The Angels of Light,
The Jesus and Mary Chain,
Gabor Szabo,
Pantytec,
Animal Collective,
Pete Rock & C.L. Smooth,
Minor Threat,
Adolescents, Adolescents, Adolescents, Adolescents.
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.