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 El Salvador and from Hong Kong.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Lille and Spokane.
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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 The Barracudas to the techno kids.
I played it at the Roxy.
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 Faust. All the underground hits.
All Trumans Water tracks. I heard you have a vinyl of every Robert Görl record on German import.
I heard that you have a white label of every seminal rock 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 marimba and are throwing your macbook out the window because you want to make something real. You want to make a Brothers Johnson 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?
Harry Pussy,
Colin Newman,
The J.B.'s,
KRS-One,
Sound Behaviour,
Connie Case,
Pete Rock & C.L. Smooth,
Pharoah Sanders,
The Saints,
Oneida,
Red Lorry Yellow Lorry,
China Crisis,
JFA,
Section 25,
Frankie Knuckles,
Quando Quango,
Intrusion,
Toni Rubio,
Whodini,
Peter & Gordon,
Angry Samoans,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Laurel Aitken,
Nik Kershaw,
Harmonia,
The Pretty Things,
Sunsets and Hearts,
Mission of Burma,
Minnie Riperton,
Wire,
Drexciya,
One Last Wish,
Scott Walker,
Interpol,
Joe Smooth,
Cecil Taylor,
De La Soul & Jungle Brothers,
Bill Near,
La Düsseldorf,
Half Japanese,
Kerrie Biddell,
Bobby Byrd,
Todd Rundgren,
D'Angelo,
Glambeats Corp.,
The Black Dice,
Wings,
The Jesus and Mary Chain,
Nation of Ulysses,
Notorious BIG live in Amsterdam,
James White and The Blacks,
Thee Headcoats,
Kas Product,
Fatback Band,
Organ,
The Knickerbockers,
Dr. Dre and Snoop Doggy Dog,
Kayak,
Bobby Womack,
Angels of Light & Akron/Family,
Roy Ayers Ubiquity,
Monolake, Monolake, Monolake, Monolake.
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.