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 Egypt and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1975.
I'm losing my edge.
To all the kids in Delhi and Seoul.
I'm losing my edge to the art-school Edmonton 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 spring reverb 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 ABC to the electroclash kids.
I played it at the Troubador.
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 Man Eating Sloth. All the underground hits.
All Blancmange tracks. I heard you have a vinyl of every Hashim record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Shoche record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Traffic Nightmare,
Y Pants,
The Beau Brummels,
Frankie Knuckles,
Selector Dub Narcotic,
The Seeds,
The Pretty Things,
Aloha Tigers,
Johnny Osbourne,
Boredoms,
Donald Byrd,
Kerrie Biddell,
D'Angelo,
Q and Not U,
The Smoke,
Ultravox,
Leonard Cohen,
Jacob Miller,
Orchestral Manoeuvres in the Dark,
Juan Atkins,
Pulsallama,
Ajijia Myrayebe,
The Vogues,
Surgeon,
Gong,
MDC,
David Bowie,
Tres Demented,
Robert Hood,
Avey Tare & Kría Brekkan,
Quantec,
Camberwell Now,
Tomorrow,
Crispian St. Peters,
The Peanut Butter Conspiracy,
Siglo XX,
Skarface,
Andrew Hill,
Lou Christie,
Dave Gahan,
F. McDonald,
Deepchord,
John Lydon,
The New Christs,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Robert Görl,
Index,
Nick Fraelich,
DNA,
Bang On A Can,
Super Lover Cee & Casanova Rud,
Royal Trux,
Patti Smith,
James Chance & The Contortions,
Gabor Szabo,
Louis and Bebe Barron,
Fifty Foot Hose,
Essential Logic,
The Trojans,
Lucky Dragons,
Public Image Ltd.,
Glambeats Corp., Glambeats Corp., Glambeats Corp., Glambeats Corp..
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.