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 Colombia and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Spokane and Sao Paulo.
I'm losing my edge to the art-school Columbus 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 Nile Rodgers 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 Black Pus to the rock 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 Mr. Review. All the underground hits.
All Piero Umiliani tracks. I heard you have a vinyl of every Cabaret Voltaire 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 '80s cut and another box set from the '70s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your clarinet and bought a guitar.
I hear that you and your band have sold your guitar and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Bob Dylan,
Swell Maps,
Gerry Rafferty,
Henry Cow,
Hasil Adkins,
Throbbing Gristle,
The Martian,
Louis and Bebe Barron,
Orchestral Manoeuvres in the Dark,
Sly & The Family Stone,
Todd Rundgren,
Gang Gang Dance,
Heavy D & The Boyz,
Agent Orange,
Grauzone,
Scientists,
Absolute Body Control,
Crash Course in Science,
Fifty Foot Hose,
Buzzcocks,
Saccharine Trust,
ABC,
The Shadows of Knight,
Delta 5,
JFA,
X-102,
Jimmy McGriff,
Sarah Menescal,
The Mojo Men,
Bobby Womack,
Erykah Badu,
Hashim,
Audionom,
The Motions,
The Selecter,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Stooges,
Kool Moe Dee,
The J.B.'s,
Aaron Thompson,
Kings Of Tomorrow,
FM Einheit,
The Gap Band,
Matthew Bourne,
Jandek,
Essential Logic,
Magma,
The Detroit Cobras,
Ten City,
Minor Threat,
The Blackbyrds,
Cluster,
Stereo Dub,
The Kinks,
Television Personalities,
Rekid,
The Golliwogs,
Animal Collective,
the Soft Cell,
Jacques Brel, Jacques Brel, Jacques Brel, Jacques Brel.
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.