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 Kazakhstan and from Philadelphia.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Manila.
I'm losing my edge to the art-school Calgary 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 oboe 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 Echo & the Bunnymen to the punk kids.
I played it at the Astoria.
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 The Young Rascals. All the underground hits.
All Parry Music tracks. I heard you have a vinyl of every Japan 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 snare and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
Soul II Soul,
Harpers Bizarre,
Nick Fraelich,
Soft Cell,
Kauko Röyhkä ja Narttu,
Louis and Bebe Barron,
The Saints,
Monolake,
Anthony Braxton,
Chrome,
Siouxsie and the Banshees,
The Music Machine,
U.S. Maple,
Joey Negro,
The Divine Comedy,
The Gun Club,
These Immortal Souls,
The Black Dice,
The Jesus and Mary Chain,
The Leaves,
Pylon,
Howard Jones,
Skaos,
The Cramps,
Public Image Ltd.,
Blancmange,
Fluxion,
Vaughan Mason & Crew,
Q65,
Tomorrow,
The Martian,
Subhumans,
The Doobie Brothers,
Eli Mardock,
Super Lover Cee & Casanova Rud,
F. McDonald,
Nation of Ulysses,
Harry Pussy,
kango's stein massive,
Rotary Connection,
Johnny Osbourne,
ABC,
Tubeway Army,
The Busters,
Sam Rivers,
Anakelly,
Infiniti,
Pagans,
The Sound,
Slave,
The Toasters,
Cheater Slicks,
Brand Nubian,
Cameo,
Stereo Dub,
Art Ensemble Of Chicago,
Ohio Players,
Audionom,
Arcadia,
Erykah Badu, Erykah Badu, Erykah Badu, Erykah Badu.
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.