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 Iceland and from New York.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Madrid.
I'm losing my edge to the art-school Beijing 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 sitar 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 Gil Scott Heron to the crunk kids.
I played it at CBGB's.
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 Ornette Coleman. All the underground hits.
All The Kinks 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 grunge 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 spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron & Brian Jackson,
The Martian,
Ten City,
Faust,
Can,
Skarface,
Infiniti,
The Evens,
Peter Gordon & Love of Life Orchestra,
Marcia Griffiths,
Mo-Dettes,
Byron Stingily,
The Flesh Eaters,
Peter & Gordon,
Black Flag,
Niagra,
Crash Course in Science,
Country Joe & The Fish,
Cabaret Voltaire,
Television Personalities,
New Age Steppers,
Dual Sessions,
Altered Images,
Deadbeat,
Rapeman,
Quando Quango,
Josef K,
Gerry Rafferty,
Pete Rock & C.L. Smooth,
Be Bop Deluxe,
Marvin Gaye,
Anakelly,
Scratch Acid,
Whodini,
Jacques Brel,
Bobby Sherman,
Matthew Halsall,
Grandmaster Flash,
Dawn Penn,
Boz Scaggs,
Carl Craig,
Idris Muhammad,
Basic Channel,
Lakeside,
The Dirtbombs,
Khruangbin,
Anthony Braxton,
Ponytail,
Lindisfarne,
Deepchord,
Section 25,
Black Sheep,
Zero Boys,
Nation of Ulysses,
Captain Beefheart & His Magic Band,
Yazoo,
Darondo,
Jandek,
Kango’s Stein Massive,
The J.B.'s,
The New Christs,
London Community Gospel Choir,
the Germs, the Germs, the Germs, the Germs.
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.