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 Burkina and from New York.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1971.
I'm losing my edge.
To all the kids in Accra and Spokane.
I'm losing my edge to the art-school Bologna 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 marimba sounds with much patience.
I was there when David Bowie 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 Don Cherry to the disco kids.
I played it at the Astoria.
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 Vogues. All the underground hits.
All Ituana tracks. I heard you have a vinyl of every Marmalade 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 '80s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Lyres record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
Derrick May,
Selector Dub Narcotic,
Notorious Big And Bone Thugs,
Chris Corsano,
Joe Smooth,
Sexual Harrassment,
Swell Maps,
the Association,
Ultimate Spinach,
Sticky Fingaz feat. Raekwon,
Avey Tare,
Robert Görl,
Leonard Cohen,
Rapeman,
Section 25,
Wasted Youth,
Whodini,
Johnny Osbourne,
Zero Boys,
Marcia Griffiths,
Johnny Clarke,
Nation of Ulysses,
Gian Franco Pienzio,
Banda Bassotti,
Iggy Pop,
Lower 48,
Half Japanese,
Soulsonic Force,
The Shadows of Knight,
Gregory Isaacs,
Newcleus,
Cecil Taylor,
Saccharine Trust,
Gabor Szabo,
the Slits,
Joey Negro,
La Düsseldorf,
The Gladiators,
Little Man,
Pantytec,
The Knickerbockers,
Grandmaster Flash,
Con Funk Shun,
Fifty Foot Hose,
Kool Moe Dee,
DNA,
Mars,
Drive Like Jehu,
Supertramp,
Simply Red,
The Happenings,
Monolake,
Sun City Girls,
Blake Baxter,
Marmalade,
Don Cherry,
Sex Pistols,
Amon Düül,
Adolescents,
Negative Approach,
Panda Bear,
Bang on a Can All-Stars,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.