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 Ivory Coast and from Lagos.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Madrid and Portland.
I'm losing my edge to the art-school Edmonton 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 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 Tim Buckley to the jazz kids.
I played it at the Astoria.
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 Warsaw. All the underground hits.
All Shoche tracks. I heard you have a vinyl of every Drive Like Jehu record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your oboe and bought a 808.
I hear that you and your band have sold your 808 and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Steve Hackett,
The Leaves,
London Community Gospel Choir,
The Move,
Metal Thangz,
Davy DMX,
Flash Fearless,
Patti Smith,
Chris Corsano,
Gil Scott-Heron and Jamie xx,
Vladislav Delay,
Cameo,
Mr. Review,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Grass Roots,
Eric Copeland,
Pantaleimon,
Tomorrow,
Eyeless In Gaza,
Roger Hodgson,
Scrapy,
The Detroit Cobras,
Television,
The Sound,
Pole,
The Smiths,
Glenn Branca,
U.S. Maple,
Main Source,
Anthony Braxton,
Selector Dub Narcotic,
Angry Samoans,
L. Decosne,
Pantytec,
Yusef Lateef,
The Last Poets,
DJ Style,
John Holt,
Notorious Big And Bone Thugs,
The Human League,
The Monochrome Set,
Fort Wilson Riot,
FM Einheit,
Arcadia,
Niagra,
Ultravox,
Alphaville,
Easy Going,
Dawn Penn,
Fluxion,
D'Angelo,
The Invisible,
The Birthday Party,
The Star Department,
Gregory Isaacs,
Throbbing Gristle,
Gil Scott-Heron & Brian Jackson,
Altered Images,
Average White Band,
Symarip,
Lou Reed,
Eli Mardock, Eli Mardock, Eli Mardock, Eli Mardock.
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.