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 Afghanistan and from Jakarta.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Paris and Delhi.
I'm losing my edge to the art-school Woodstock 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 sitar sounds with much patience.
I was there when Robert Palmer 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 Fatback Band to the grunge kids.
I played it at the Spitz.
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 Juan Atkins. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every Chrome record on German import.
I heard that you have a white label of every seminal jazz 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 chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
H. Thieme,
The Jesus and Mary Chain,
Mantronix,
Newcleus,
Gastr Del Sol,
The Buckinghams,
The Skatalites,
Visage,
Thompson Twins,
The Associates,
The American Breed,
Vaughan Mason & Crew,
Sixth Finger,
Theoretical Girls,
The Fire Engines,
The Sisters of Mercy,
Barry Ungar,
The Men They Couldn't Hang,
Tres Demented,
Lizzy Mercier Descloux,
John Holt,
Massinfluence,
Glambeats Corp.,
Marine Girls,
LL Cool J,
The Moody Blues,
Blancmange,
Kayak,
Oblivians,
Alphaville,
Wolf Eyes,
Bizarre Inc.,
Electric Prunes,
Flipper,
Surgeon,
The Sonics,
Selector Dub Narcotic,
Model 500,
Wire,
Kevin Saunderson,
Sound Behaviour,
The Black Dice,
Lakeside,
MC5,
Fela Kuti,
ABBA,
The Gladiators,
Boz Scaggs,
June of 44,
Red Lorry Yellow Lorry,
Aaron Thompson,
JFA,
Louis and Bebe Barron,
Faraquet,
Lou Reed & John Cale,
K-Klass,
Swell Maps,
Sam Rivers,
Shuggie Otis,
Sun City Girls,
These Immortal Souls,
Jacques Brel,
Sticky Fingaz feat. Raekwon, Sticky Fingaz feat. Raekwon, Sticky Fingaz feat. Raekwon, Sticky Fingaz feat. Raekwon.
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.