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 Uruguay and from Spokane.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Lagos and Salvador.
I'm losing my edge to the art-school Tehran 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 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 Gil Scott-Heron & Brian Jackson to the grime 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 Mandrill. All the underground hits.
All Black Bananas tracks. I heard you have a vinyl of every Dark Day record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chris Corsano,
Mandrill,
Super Lover Cee & Casanova Rud,
Outsiders,
Camron Feat. Jay Z And Juelz,
Audionom,
Sällskapet,
Peter and Kerry,
Whodini,
The Leaves,
Mr. Review,
Derrick Morgan,
Visage,
The Music Machine,
Morten Harket,
Neil Young,
The Saints,
X-102,
Toni Rubio,
Goldenarms,
Crispy Ambulance,
Kerri Chandler,
Ludus,
Avey Tare's Slasher Flicks,
Iggy Pop,
the Soft Cell,
Howard Jones,
Gang Green,
Thinking Fellers Union Local 282,
Rotary Connection,
The Smoke,
The Velvet Underground,
Scan 7,
Jesper Dahlback,
Susan Cadogan,
Rhythim Is Rhythim,
The Five Americans,
Juan Atkins,
Negative Approach,
Black Flag,
De La Soul & Jungle Brothers,
Oblivians,
Duran Duran,
Rhythm & Sound,
Spandau Ballet,
Sparks,
Model 500,
Nas,
Robert Görl,
Echospace,
Parry Music,
Urselle,
X-Ray Spex,
Sonic Youth,
Agitation Free,
Blossom Toes,
Shuggie Otis,
John Foxx,
Moss Icon,
The Zeros,
Soul II Soul,
Robert Hood,
The Standells, The Standells, The Standells, The Standells.
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.