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 Cambodia and from Jakarta.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Shanghai and Jakarta.
I'm losing my edge to the art-school Manchester 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 marimba 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 Maleditus Sound to the electroclash kids.
I played it at the 40 Watt.
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 Camron Feat. Jay Z And Juelz. All the underground hits.
All The Moleskins tracks. I heard you have a vinyl of every Teenage Jesus and the Jerks 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 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 Minor Threat record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sisters of Mercy,
Pierre Henry,
the Fania All-Stars,
Rekid,
Crime,
Spandau Ballet,
the Swans,
Pharaoh Sanders and the Fire Engines,
Bootsy Collins,
The Fire Engines,
K-Klass,
Sexual Harrassment,
The Busters,
Moby Grape,
Morten Harket,
Royal Trux,
Deakin,
L. Decosne,
Cameo,
Minny Pops,
The Leaves,
Slick Rick,
The Gun Club,
The Smoke,
The Pop Group,
Beasts of Bourbon,
Massinfluence,
Tom Boy,
Audionom,
Lightning Bolt,
Girls At Our Best!,
Roger Hodgson,
Soul II Soul,
Notorious Big And Bone Thugs,
Bill Wells,
Agitation Free,
The Wake,
Fear,
Harry Pussy,
Susan Cadogan,
Fatback Band,
Underground Resistance,
The Blackbyrds,
Thinking Fellers Union Local 282,
Newcleus,
Nick Fraelich,
China Crisis,
Michelle Simonal,
The Red Krayola,
Lyres,
The Angels of Light,
Sällskapet,
Sam Rivers,
Leonard Cohen,
Barclay James Harvest,
Stereo Dub,
The Grass Roots,
Ronan,
Ash Ra Tempel,
Amazonics,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.