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 Norway and from Paris.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Glasgow.
I'm losing my edge to the art-school Seoul 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 at the first Suicide practice in a loft in New York.
I was working on the güiro sounds with much patience.
I was there when Lou Reed 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 Drexciya to the rap 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 Lakeside. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Niagra record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a the Bar-Kays 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 Trojans,
John Lydon,
Sun City Girls,
Pet Shop Boys,
Gil Scott-Heron and Jamie xx,
Newcleus,
Rowland S Howard / Lydia Lunch,
Neu!,
Underground Resistance,
Alison Limerick,
AZ,
Echo & the Bunnymen,
JFA,
Skaos,
Heaven 17,
Minutemen,
Chris Corsano,
Ohio Players,
The Tremeloes,
UT,
Boz Scaggs,
Suburban Knight,
The Fugs,
Iggy Pop,
Can,
The Mummies,
John Foxx,
Matthew Halsall,
Monks,
Section 25,
Fad Gadget,
Gil Scott-Heron & Brian Jackson,
Symarip,
Black Flag,
Drexciya,
X-Ray Spex,
Radio Birdman,
K-Klass,
Los Fastidios,
Whodini,
Gary Puckett & The Union Gap,
The Slackers,
The Fall,
Banda Bassotti,
Andrew Ashong & Theo Parrish,
Negative Approach,
Q and Not U,
The Moody Blues,
Crooked Eye,
Franke,
The Invisible,
Basic Channel,
Mantronix,
Bobby Hutcherson,
Fort Wilson Riot,
Lee Hazlewood,
Massinfluence,
Absolute Body Control,
the Fania All-Stars,
Funky Four + One,
Nick Fraelich,
Das Ding, Das Ding, Das Ding, Das Ding.
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.