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 Papua New Guinea and from Woodstock.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and New York.
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 linndrum 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 Cluster to the rap kids.
I played it at CBGB's.
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 Franke. All the underground hits.
All John Lydon tracks. I heard you have a vinyl of every The Fall record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang of Four,
Lalann,
Visionaries,LMNO, T- Love & Iriscience,
Make Up,
The Gladiators,
Morten Harket,
Gang Gang Dance,
K-Klass,
Motorama,
the Association,
Liliput,
Arab on Radar,
Scientists,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Gil Scott Heron,
Fugazi,
Blake Baxter,
Aaron Thompson,
Con Funk Shun,
Blossom Toes,
Frankie Knuckles,
Bauhaus,
Iggy Pop,
Warren Ellis,
Eli Mardock,
The United States of America,
X-102,
Supertramp,
John Cale,
Hardrive,
Half Japanese,
Kango’s Stein Massive,
Glenn Branca,
Mission of Burma,
Interpol,
Black Flag,
Chris Corsano,
JFA,
Kerrie Biddell,
Alice Coltrane,
Mary Jane Girls,
Brand Nubian,
The Smoke,
John Lydon,
Ultra Naté,
Hashim,
Rakim,
The Fuzztones,
The Cosmic Jokers,
Royal Trux,
Minutemen,
The Cowsills,
Pierre Henry,
Essential Logic,
Magazine,
Freddie Wadling,
Masters at Work,
The Pop Group,
Black Moon,
KRS-One,
Rowland S Howard / Lydia Lunch,
Sex Pistols, Sex Pistols, Sex Pistols, Sex Pistols.
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.