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 Ghana and from Philadelphia.
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 1967 to 1979.
I'm losing my edge.
To all the kids in Winnipeg and Seoul.
I'm losing my edge to the art-school Johannesburg 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 Altered Images to the punk kids.
I played it at the Crocodile.
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 Masta Ace, Craig G, Kool G Rap, Big Daddy Kane. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every Roy Ayers record on German import.
I heard that you have a white label of every seminal disco 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 snare and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
Brass Construction,
Robert Görl,
Kaleidoscope,
Outsiders,
The Seeds,
The Beau Brummels,
Nick Cave & The Bad Seeds,
Matthew Bourne,
Minutemen,
Agent Orange,
Scott Walker + Sunn O))),
Eyeless In Gaza,
Deutsch Amerikanische Freundschaft,
Bobbi Humphrey,
Sällskapet,
Marine Girls,
Thee Headcoats,
James Chance & The Contortions,
Fluxion,
Ash Ra Tempel,
Mark Hollis,
Jesper Dahlback,
Oblivians,
James White and The Blacks,
The Evens,
Graham Central Station,
The Modern Lovers,
The Motions,
Lou Reed,
Wire,
Peter & Gordon,
Idris Muhammad,
The Sisters of Mercy,
Don Cherry,
Laurel Aitken,
Andrew Ashong & Theo Parrish,
Sarah Menescal,
D'Angelo,
Johnny Clarke,
Joe Smooth,
Susan Cadogan,
Roger Hodgson,
Theoretical Girls,
Aloha Tigers,
Hashim,
Sixth Finger,
The Five Americans,
U.S. Maple,
Cameo,
Matthew Halsall,
The Pop Group,
Blossom Toes,
Bang on a Can All-Stars,
Gastr Del Sol,
Aaron Thompson,
The Human League,
Gichy Dan,
Buzzcocks,
Young Marble Giants,
Guru Guru,
Alton Ellis,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.