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 Oman and from Woodstock.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Hong Kong and Copenhagen.
I'm losing my edge to the art-school Winnipeg 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 linndrum 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 Henry Cow to the grime 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 Super Lover Cee & Casanova Rud. All the underground hits.
All the Sonics tracks. I heard you have a vinyl of every Crash Course in Science 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 '70s cut and another box set from the '90s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Technova record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
Black Pus,
Johnny Osbourne,
Dawn Penn,
Motorama,
X-101,
Beasts of Bourbon,
Groovy Waters,
Funky Four + One,
The Remains,
Intrusion,
Lalo Schifrin,
The Mojo Men,
KRS-One,
Depeche Mode,
Oppenheimer Analysis,
David Bowie,
Gang Gang Dance,
The Red Krayola,
Dave Gahan,
Ornette Coleman,
Gang Starr,
The Residents,
L. Decosne,
Röyhkä ja Rättö ja Lehtisalo,
Man Eating Sloth,
Jeru the Damaja,
Surgeon,
Bang on a Can All-Stars,
MDC,
The Buckinghams,
Marshall Jefferson,
Mark Hollis,
Liaisons Dangereuses,
Roy Ayers,
Lyres,
Brass Construction,
Soft Cell,
Deakin,
Porter Ricks,
Index,
Chrome,
The Chocolate Watch Band,
The Grass Roots,
Grandmaster Flash and the Furious Five,
OOIOO,
The Slackers,
The Doors,
Ten City,
Gil Scott Heron,
The Five Americans,
Eli Mardock,
The Vogues,
EPMD,
F. McDonald,
the Bar-Kays,
Hot Snakes,
Deepchord,
Siglo XX,
H. Thieme,
Alton Ellis,
Derrick Morgan,
Loose Ends,
The Barracudas, The Barracudas, The Barracudas, The Barracudas.
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.