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 Israel and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1975.
I'm losing my edge.
To all the kids in Taipei and Lille.
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 theremin sounds with much patience.
I was there when David Bowie 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 Sex Pistols to the electroclash kids.
I played it at the Hacienda.
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 Marmalade. All the underground hits.
All Kaleidoscope tracks. I heard you have a vinyl of every Lightning Bolt record on German import.
I heard that you have a white label of every seminal rap 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 snare and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Kool Moe Dee record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sex Pistols,
James Chance & The Contortions,
Barbara Tucker,
Roy Ayers Ubiquity,
Zapp,
Gabor Szabo,
June of 44,
Jeru the Damaja,
Spoonie Gee,
The Moody Blues,
Guru Guru,
A Certain Ratio,
The United States of America,
10cc,
D'Angelo,
Yusef Lateef,
X-Ray Spex,
Black Bananas,
The Human League,
Orchestral Manoeuvres in the Dark,
Pharaoh Sanders and the Fire Engines,
Scott Walker,
Sam Rivers,
The Residents,
Nik Kershaw,
Main Source,
Gang Starr,
Andrew Ashong & Theo Parrish,
Fluxion,
The Victims,
Darondo,
Index,
Subhumans,
Steve Hackett,
Mo-Dettes,
John Cale,
Dave Gahan,
Tears for Fears,
Wally Richardson,
Deadbeat,
Mantronix,
Marc Romboy vs. Booka Shade,
Strawberry Alarm Clock,
Excepter,
Ronnie Foster,
Justin Hinds & The Dominoes,
Roger Hodgson,
Dual Sessions,
Scratch Acid,
Stetsasonic,
Half Japanese,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
cv313,
Tropical Tobacco,
Unrelated Segments,
the Association,
Yellowson,
Ultravox,
Drive Like Jehu,
The Stooges,
Gil Scott-Heron and Jamie xx,
DNA, DNA, DNA, DNA.
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.