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 El Salvador and from Mumbai.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Bologna and Paris.
I'm losing my edge to the art-school Taipei 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 arpeggiator 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 Gregory Isaacs to the rock 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 Basic Channel. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every The Detroit Cobras 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Joyce Sims record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
Carl Craig,
Kool G Rap & DJ Polo,
Maleditus Sound,
R.M.O.,
Bang On A Can,
Mad Mike,
These Immortal Souls,
the Soft Cell,
FM Einheit,
Brick,
the Association,
Grey Daturas,
Ultra Naté,
The Barracudas,
David McCallum,
Marc Almond,
Nik Kershaw,
Howard Jones,
Minutemen,
8 Eyed Spy,
Alice Coltrane,
James White and The Blacks,
Thee Headcoats,
Black Bananas,
Sight & Sound,
The Dead C,
Frankie Knuckles,
Lalann,
Thinking Fellers Union Local 282,
The Offenders,
Strawberry Alarm Clock,
The Monochrome Set,
Bobby Hutcherson,
Metal Thangz,
Lou Reed & Metallica,
Radio Birdman,
Andrew Ashong & Theo Parrish,
Basic Channel,
Rekid,
Sly & The Family Stone,
Warren Ellis,
Anthony Braxton,
DNA,
kango's stein massive,
Soft Machine,
Darondo,
Pharaoh Sanders and the Fire Engines,
Faraquet,
Los Fastidios,
Roxy Music,
Harpers Bizarre,
The Dirtbombs,
Sad Lovers and Giants,
Pantytec,
China Crisis,
Byron Stingily,
Josef K,
Von Mondo,
Television,
Fat Boys,
Niagra, Niagra, Niagra, Niagra.
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.