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 Greece and from Beijing.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Mumbai and Lyon.
I'm losing my edge to the art-school Copenhagen 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Rakim to the funk 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 The Cowsills. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Avey Tare record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
Rosa Yemen,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Tom Boy,
Deepchord,
The Last Poets,
48th St. Collective,
Graham Central Station,
Matthew Bourne,
New Order,
Section 25,
Hashim,
Unwound,
Ituana,
Neu!,
The Martian,
Scott Walker + Sunn O))),
Steve Hackett,
Wire,
Bush Tetras,
Heavy D & The Boyz,
Bill Near,
Tim Buckley,
Marc Romboy vs. Booka Shade,
Sexual Harrassment,
The Gories,
The Royal Family And The Poor,
Sight & Sound,
Bauhaus,
Visage,
Marvin Gaye,
Hasil Adkins,
Skarface,
Sun Ra,
Soft Cell,
Mr. Review,
Big Daddy Kane,
Girls At Our Best!,
Roxette,
Glenn Branca,
Bobby Byrd,
DeepChord presents Echospace,
AZ,
Albert Ayler,
Robert Hood,
Quando Quango,
Second Layer,
China Crisis,
Pantytec,
Sunsets and Hearts,
Tommy Roe,
The Red Krayola,
Pharoah Sanders,
Wolf Eyes,
Lee Hazlewood,
Animal Collective,
Faust,
Matthew Halsall,
Brass Construction,
The Cowsills,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.