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 East Timor and from Mumbai.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1979.
I'm losing my edge.
To all the kids in Bremen and Lyon.
I'm losing my edge to the art-school Cairo 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 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 Real Kids to the crunk 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 The Men They Couldn't Hang. All the underground hits.
All The Slackers tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Nas record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
Wally Richardson,
World's Most,
Pharaoh Sanders and the Fire Engines,
Godley & Creme,
Sad Lovers and Giants,
Glambeats Corp.,
Warren Ellis,
Jesper Dahlbäck,
Swell Maps,
Bobby Hutcherson,
Louis and Bebe Barron,
Royal Trux,
Scan 7,
Ultravox,
Super Lover Cee & Casanova Rud,
Deutsch Amerikanische Freundschaft,
New York Dolls,
Be Bop Deluxe,
Moss Icon,
Sight & Sound,
James Chance & The Contortions,
The Cure,
Erykah Badu,
The Young Rascals,
Roger Hodgson,
Altered Images,
The Gun Club,
The Residents,
Oneida,
Sly & The Family Stone,
The Blues Magoos,
Cabaret Voltaire,
The Golliwogs,
Dawn Penn,
Soft Cell,
Black Pus,
The Pretty Things,
Soulsonic Force,
The Dead C,
Deadbeat,
Crispy Ambulance,
The Knickerbockers,
Sällskapet,
Ultra Naté,
Ohio Players,
Isaac Hayes,
The Beau Brummels,
Gian Franco Pienzio,
The Techniques,
Duran Duran,
John Foxx,
Nation of Ulysses,
The Cramps,
Audionom,
Cybotron,
Pharoah Sanders,
Roxette,
Public Enemy,
Rahsaan Roland Kirk,
Eric Dolphy,
EPMD,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.