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 Mongolia and from Johannesburg.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Glasgow.
I'm losing my edge to the art-school Manchester 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 Stereo Dub to the crunk kids.
I played it at the Crocodile.
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 X-101. All the underground hits.
All Aloha Tigers tracks. I heard you have a vinyl of every Oppenheimer Analysis record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a DJ Sneak record.
I hear that you and your band have sold your guitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Flag,
Niagra,
Hoover,
Kerrie Biddell,
H. Thieme,
Ash Ra Tempel,
The Doors,
Marmalade,
Pagans,
Big Daddy Kane,
Hardrive,
Rotary Connection,
Super Lover Cee & Casanova Rud,
Buzzcocks,
Symarip,
David McCallum,
John Lydon,
The Fortunes,
Röyhkä ja Rättö ja Lehtisalo,
The Barracudas,
Juan Atkins,
Louis and Bebe Barron,
The American Breed,
Ossler,
Visage,
The Saints,
B.T. Express,
FM Einheit,
Ronan,
Eden Ahbez,
Massinfluence,
Tom Boy,
Ultravox,
Sister Nancy,
Intrusion,
Notorious BIG live in Amsterdam,
Moss Icon,
Rhythm & Sound,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Godley & Creme,
Sun City Girls,
Warsaw,
Josef K,
Sun Ra Arkestra,
Soft Machine,
Orchestral Manoeuvres in the Dark,
Babytalk,
Drexciya,
Janne Schatter,
Matthew Halsall,
Lightning Bolt,
Pete Rock & C.L. Smooth,
Underground Resistance,
Ten City,
The Cramps,
Danielle Patucci,
Kool G Rap & DJ Polo,
Gerry Rafferty,
Oblivians, Oblivians, Oblivians, Oblivians.
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.