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 Guinea and from Taipei.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Glasgow.
I'm losing my edge to the art-school Seoul 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 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 Half Japanese 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 Barracudas. All the underground hits.
All Ken Boothe tracks. I heard you have a vinyl of every Ash Ra Tempel 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 linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kaleidoscope record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Anakelly,
Grey Daturas,
Carl Craig,
Pantytec,
Accadde A,
Con Funk Shun,
MC5,
Louis and Bebe Barron,
Lebanon Hanover,
Flash Fearless,
Avey Tare's Slasher Flicks,
Bizarre Inc.,
Country Teasers,
Barrington Levy,
Visionaries,LMNO, T- Love & Iriscience,
Jerry's Kids,
Moby Grape,
The United States of America,
Dawn Penn,
The Residents,
Los Fastidios,
Monks,
Sight & Sound,
Black Flag,
Severed Heads,
Blake Baxter,
Quadrant,
Japan,
The Pop Group,
Television,
The Evens,
Chris & Cosey,
The Toasters,
Livin' Joy,
Gerry Rafferty,
James Chance & The Contortions,
The Victims,
the Human League,
The Happenings,
Ornette Coleman,
Little Man,
Nirvana,
It's A Beautiful Day,
The Cosmic Jokers,
Echospace,
Qualms,
The Young Rascals,
Lyres,
Gary Puckett & The Union Gap,
Warren Ellis,
Man Parrish,
Organ,
Icehouse,
Jeru the Damaja,
Todd Rundgren,
Gichy Dan,
David McCallum,
The Offenders,
Minutemen,
Cameo,
Ultra Naté,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.