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 Mali and from Lyon.
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 1960 to 1971.
I'm losing my edge.
To all the kids in London and Portland.
I'm losing my edge to the art-school Sao Paulo 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 arpeggiator sounds with much patience.
I was there when Holger Czukay 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 Quadrant to the jazz kids.
I played it at Trash.
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 Selecter. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every Bush Tetras record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rapeman,
Roy Ayers,
The Toasters,
One Last Wish,
Max Romeo,
The Index,
Minor Threat,
Jesper Dahlback,
Man Parrish,
Quantec,
Model 500,
Camron Feat. Jay Z And Juelz,
Kerri Chandler,
Eddi Front,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Fortunes,
DeepChord presents Echospace,
Tomorrow,
Fear,
AZ,
Rekid,
Audionom,
X-Ray Spex,
D'Angelo,
Trumans Water,
The Tremeloes,
Carl Craig,
Sarah Menescal,
Larry & the Blue Notes,
The Skatalites,
Cabaret Voltaire,
Mad Mike,
Marine Girls,
Juan Atkins,
The Royal Family And The Poor,
Amon Düül II,
Avey Tare,
Matthew Bourne,
Soft Cell,
Kool G Rap & DJ Polo,
Scratch Acid,
The Divine Comedy,
Amazonics,
Grauzone,
Mr. Review,
Simply Red,
Patti Smith,
Von Mondo,
Sex Pistols,
Pussy Galore,
H. Thieme,
Spandau Ballet,
LL Cool J,
Lucky Dragons,
The Associates,
Little Man,
Teenage Jesus and the Jerks,
The Victims,
The Saints,
Intrusion,
Peter & Gordon,
Bizarre Inc.,
Circle Jerks,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.