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 Palau and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1965 to 1978.
I'm losing my edge.
To all the kids in Tehran and Lyon.
I'm losing my edge to the art-school Halifax 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 Lewis practice in a loft in Vancouver.
I was working on the harpsichord sounds with much patience.
I was there when Holger Czukay 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 grime kids.
I played it at Trash.
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 Deakin. All the underground hits.
All Marmalade tracks. I heard you have a vinyl of every Skarface record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and an arpeggiator 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 spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Deakin,
Henry Cow,
10cc,
Tommy Roe,
Skriet,
The Men They Couldn't Hang,
Bill Near,
Orchestral Manoeuvres in the Dark,
Aaron Thompson,
The Walker Brothers,
Pierre Henry,
The Busters,
Bush Tetras,
The Neon Judgement,
Rites of Spring,
The Black Dice,
The Fortunes,
Charles Mingus,
Yazoo,
Khruangbin,
Althea and Donna,
Harmonia,
Masters at Work,
Camouflage,
Barbara Tucker,
Captain Beefheart & His Magic Band,
Michelle Simonal,
Arab on Radar,
James White and The Blacks,
La Düsseldorf,
Skarface,
Tim Buckley,
Jeff Mills,
Swans,
The Martian,
Boredoms,
The Victims,
Scratch Acid,
Quantec,
Kings Of Tomorrow,
Kenny Larkin,
Warsaw,
Television,
The Vogues,
Mo-Dettes,
June of 44,
Marine Girls,
Terrestrial Tones,
Goldenarms,
Theoretical Girls,
Fat Boys,
Big Daddy Kane,
Mad Mike,
Jerry's Kids,
World's Most,
Mars,
The Shadows of Knight,
It's A Beautiful Day,
Fear,
The Golliwogs,
Zapp, Zapp, Zapp, Zapp.
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.