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 Ethiopia and from Calgary.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Tehran and Philadelphia.
I'm losing my edge to the art-school Mexico City 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 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 Yazoo to the grunge kids.
I played it at the Spitz.
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 Shoche. All the underground hits.
All Theoretical Girls tracks. I heard you have a vinyl of every Kings Of Tomorrow 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Q and Not U record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pulsallama,
Sandy B,
The Mojo Men,
PIL,
Fifty Foot Hose,
Marcia Griffiths,
Blossom Toes,
Alphaville,
Bootsy Collins,
Section 25,
Pharaoh Sanders and the Fire Engines,
Curtis Mayfield,
the Germs,
The Jesus and Mary Chain,
Electric Light Orchestra,
Tubeway Army,
Ice-T,
Porter Ricks,
Scientists,
Magazine,
Wighnomy Brothers & Robag Wruhme,
Al Stewart,
Ash Ra Tempel,
Pantytec,
Wire,
Louis and Bebe Barron,
Royal Trux,
Eyeless In Gaza,
Roger Hodgson,
Organ,
Tim Buckley,
Danielle Patucci,
Slave,
Skriet,
Newcleus,
T. Rex,
H. Thieme,
The Victims,
Siglo XX,
Aaron Thompson,
Peter Gordon & Love of Life Orchestra,
The Dead C,
Public Image Ltd.,
Crooked Eye,
Yazoo,
Panda Bear,
Robert Görl,
the Slits,
Swans,
Magma,
Gregory Isaacs,
Liaisons Dangereuses,
Hardrive,
MC5,
Kerrie Biddell,
Marshall Jefferson,
cv313,
The Invisible,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Radiohead, Radiohead, Radiohead, Radiohead.
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.