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 Venezuela and from Taipei.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1974.
I'm losing my edge.
To all the kids in Sao Paulo and Mumbai.
I'm losing my edge to the art-school Spokane 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 AZ to the techno 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 Radiopuhelimet. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Roxy Music record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your oboe and bought a marimba.
I hear that you and your band have sold your marimba and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
Aural Exciters,
Notorious BIG live in Amsterdam,
Soul Sonic Force,
Cameo,
Tom Boy,
Panda Bear,
The Count Five,
Camberwell Now,
Infiniti,
Basic Channel,
The Alarm Clocks,
The Pop Group,
Alison Limerick,
Kings Of Tomorrow,
Ituana,
David Axelrod,
The Birthday Party,
Eurythmics,
Pierre Henry,
Gil Scott-Heron and Jamie xx,
The Human League,
Pete Rock & C.L. Smooth,
Soul II Soul,
Rekid,
The Monochrome Set,
48th St. Collective,
L. Decosne,
Freddie Wadling,
Bauhaus,
The Smoke,
Grey Daturas,
Amon Düül,
Brick,
Kenny Larkin,
The Black Dice,
Scion,
Johnny Osbourne,
Slave,
Sex Pistols,
The Stooges,
Skriet,
Manfred Mann's Earth Band,
Unrelated Segments,
Simply Red,
Zero Boys,
Y Pants,
Deakin,
Black Moon,
Avey Tare,
Swell Maps,
The Associates,
Franke,
Camron Feat. Memphis Bleek And Beenie Seigel,
Howard Jones,
Rotary Connection,
Bill Wells,
Motorama,
Sister Nancy,
Red Lorry Yellow Lorry,
R.M.O.,
The Dirtbombs,
Pussy Galore, Pussy Galore, Pussy Galore, Pussy Galore.
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.