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 Gabon and from Madrid.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Glasgow and Johannesburg.
I'm losing my edge to the art-school Spokane 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 mellotron 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 Massinfluence to the dance 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 Adolescents. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Barbara Tucker record on German import.
I heard that you have a white label of every seminal punk 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 güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Moody Blues record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gastr Del Sol,
Jacques Brel,
The Zeros,
Zero Boys,
Das Ding,
Selector Dub Narcotic,
Q65,
Strawberry Alarm Clock,
Barclay James Harvest,
The Remains,
Quadrant,
Bang on a Can All-Stars,
Popol Vuh,
Sexual Harrassment,
John Cale,
Soul II Soul,
kango's stein massive,
The Barracudas,
L. Decosne,
Maurizio,
Skaos,
Roxette,
Robert Hood,
Massinfluence,
Angels of Light & Akron/Family,
Cheater Slicks,
The Slackers,
T.S.O.L.,
Fela Kuti,
Country Joe & The Fish,
Gregory Isaacs,
Electric Prunes,
Cluster,
The American Breed,
Cybotron,
The Jesus and Mary Chain,
DJ Style,
Isaac Hayes,
Donny Hathaway,
Magma,
Pere Ubu,
Gichy Dan,
It's A Beautiful Day,
Soft Machine,
Y Pants,
Harpers Bizarre,
Pete Rock & C.L. Smooth,
The Detroit Cobras,
Mo-Dettes,
Motorama,
Metal Thangz,
Flamin' Groovies,
Lou Reed & John Cale,
Fifty Foot Hose,
Stetsasonic,
Circle Jerks,
Gil Scott-Heron and Jamie xx,
Anthony Braxton,
Ultramagnetic MC's,
Pulsallama,
Bob Dylan,
John Holt, John Holt, John Holt, John Holt.
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.