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 Nicaragua and from Milan.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1963 to 1975.
I'm losing my edge.
To all the kids in Lagos and Philadelphia.
I'm losing my edge to the art-school Lyon 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 808 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 Fluxion to the crunk kids.
I played it at the Hacienda.
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 Agent Orange. All the underground hits.
All Dave Gahan tracks. I heard you have a vinyl of every Pulsallama record on German import.
I heard that you have a white label of every seminal grime 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 sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Monks record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dawn Penn,
Dorothy Ashby,
Hoover,
Clear Light,
CMW,
Ken Boothe,
Pere Ubu,
Whodini,
Sound Behaviour,
Stiv Bators,
Ronan,
Crime,
MDC,
Chris & Cosey,
48th St. Collective,
Lou Reed,
Kerrie Biddell,
Terrestrial Tones,
Fad Gadget,
kango's stein massive,
The Golliwogs,
Lower 48,
Bootsy Collins,
Angry Samoans,
Lou Reed & Metallica,
The Fire Engines,
New York Dolls,
Index,
The Invisible,
The Seeds,
Pussy Galore,
David McCallum,
Audionom,
ABBA,
The Blues Magoos,
Chris Corsano,
Television Personalities,
Minor Threat,
Oppenheimer Analysis,
Alison Limerick,
Brass Construction,
Sällskapet,
Marc Almond,
Notorious BIG live in Amsterdam,
Icehouse,
Gong,
John Holt,
Cheater Slicks,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
OOIOO,
Visage,
The American Breed,
Make Up,
Dark Day,
Sex Pistols,
X-Ray Spex,
Pierre Henry,
Kool G Rap & DJ Polo,
Underground Resistance,
Bang on a Can All-Stars,
Funky Four + One,
The Motions, The Motions, The Motions, The Motions.
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.