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 Russia and from Accra.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Madrid and Seoul.
I'm losing my edge to the art-school London 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 snare 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 Cameo to the electroclash kids.
I played it at Cafe Wha.
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 A Certain Ratio. All the underground hits.
All Thompson Twins tracks. I heard you have a vinyl of every Parry Music 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 '70s cut and another box set from the '90s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Motorama record.
I hear that you and your band have sold your 808 and bought a marimba.
I hear that you and your band have sold your marimba and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Martian,
Arthur Verocai,
Gian Franco Pienzio,
Rowland S Howard / Lydia Lunch,
Josef K,
Vainqueur,
Andrew Ashong & Theo Parrish,
Eric B and Rakim,
Ossler,
Echospace,
Freddie Wadling,
Joyce Sims,
Moss Icon,
Henry Cow,
New Order,
Don Cherry,
the Soft Cell,
The Walker Brothers,
Tubeway Army,
Roxy Music,
The Moleskins,
DJ Style,
David Bowie,
Magazine,
Blancmange,
Barry Ungar,
Judy Mowatt,
Popol Vuh,
Stockholm Monsters,
Chrome,
Max Romeo,
Faust,
Boogie Down Productions,
Dawn Penn,
Joe Finger,
Wire,
Chris Corsano,
Angels of Light & Akron/Family,
Young Marble Giants,
Heavy D & The Boyz,
Television Personalities,
The Smiths,
E-Dancer,
X-102,
the Slits,
Aural Exciters,
The Real Kids,
Grandmaster Flash,
Soft Cell,
Toni Rubio,
T.S.O.L.,
The Monochrome Set,
Unwound,
KRS-One,
Basic Channel,
This Heat,
The Music Machine,
The Moody Blues,
Joe Smooth,
Outsiders,
Sex Pistols,
The Leaves, The Leaves, The Leaves, The Leaves.
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.