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 Zambia and from Shanghai.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Portland and Seoul.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the linndrum 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 Fluxion to the grunge kids.
I played it at the Troubador.
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 Black Dice. All the underground hits.
All The Mummies tracks. I heard you have a vinyl of every Eric Copeland record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape 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?
Sugar Minott,
Drive Like Jehu,
Gichy Dan,
X-101,
Organ,
Ronnie Foster,
Kool G Rap & DJ Polo,
Procol Harum,
Joensuu 1685,
Skarface,
Oneida,
Cybotron,
Eddi Front,
Lou Reed & Metallica,
Pantaleimon,
The American Breed,
48th St. Collective,
Mars,
Röyhkä ja Rättö ja Lehtisalo,
Sonic Youth,
CMW,
Dorothy Ashby,
the Association,
The Techniques,
Marc Almond,
Roy Ayers Ubiquity,
Blancmange,
Barbara Tucker,
The Durutti Column,
Whodini,
Alice Coltrane,
Eric Dolphy,
Roy Ayers,
Youth Brigade,
The Royal Family And The Poor,
The Doobie Brothers,
a-ha,
Avey Tare & Kría Brekkan,
Erasure,
Clear Light,
Pere Ubu,
Kurtis Blow,
Flipper,
8 Eyed Spy,
Avey Tare's Slasher Flicks,
Roxy Music,
Lizzy Mercier Descloux,
X-102,
The Associates,
Visionaries,LMNO, T- Love & Iriscience,
The Golliwogs,
Mark Hollis,
Kevin Saunderson,
Moss Icon,
Bootsy Collins,
The Fugs,
DNA,
the Human League,
Lungfish,
Patti Smith,
Arthur Verocai,
Altered Images,
kango's stein massive,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.