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 Uzbekistan and from Copenhagen.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Manchester and Lagos.
I'm losing my edge to the art-school Hong Kong 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 Skaos to the grime 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 Stetsasonic. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Quando Quango record on German import.
I heard that you have a white label of every seminal dance 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 theremin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Yusef Lateef,
Eric Copeland,
Buzzcocks,
Cluster,
Nirvana,
Little Man,
Interpol,
Crispian St. Peters,
Avey Tare's Slasher Flicks,
Eyeless In Gaza,
Sister Nancy,
A Flock of Seagulls,
Yazoo,
Kool Moe Dee,
Gil Scott-Heron and Jamie xx,
Magazine,
Intrusion,
Sparks,
Ludus,
Rahsaan Roland Kirk,
The Names,
The Gap Band,
Jesper Dahlbäck,
The Cosmic Jokers,
Marshall Jefferson,
Liaisons Dangereuses,
Lalann,
Magma,
Camron Feat. Memphis Bleek And Beenie Seigel,
Echo & the Bunnymen,
Fat Boys,
The Music Machine,
Pharoah Sanders,
Young Marble Giants,
The Smiths,
L. Decosne,
Siouxsie and the Banshees,
Quando Quango,
the Association,
Bronski Beat,
Man Eating Sloth,
Charles Mingus,
Popol Vuh,
Marmalade,
Tears for Fears,
Don Cherry,
Ten City,
FM Einheit,
Matthew Bourne,
Guru Guru,
Pet Shop Boys,
Unwound,
Metal Thangz,
Ornette Coleman,
The Angels of Light,
Terrestrial Tones,
The Sisters of Mercy,
James Chance & The Contortions,
Ultravox,
Black Moon,
Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five.
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.