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 Cambodia and from Johannesburg.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Halifax and Accra.
I'm losing my edge to the art-school Manila 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 clarinet 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 Funky Four + One to the rap kids.
I played it at the Spitz.
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 Ossler. All the underground hits.
All Pylon tracks. I heard you have a vinyl of every The Misunderstood 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Grass Roots record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zapp,
Arcadia,
Teenage Jesus and the Jerks,
Lizzy Mercier Descloux,
Porter Ricks,
Royal Trux,
Barry Ungar,
ABC,
Swell Maps,
F. McDonald,
The Beau Brummels,
Alphaville,
The Last Poets,
Rufus Thomas,
The Index,
Howard Jones,
Jeff Mills,
The Toasters,
The Smoke,
Arthur Verocai,
Masters at Work,
Faraquet,
Soft Machine,
Pylon,
Peter Gordon & Love of Life Orchestra,
June Days,
Pantaleimon,
Pussy Galore,
Pole,
Justin Hinds & The Dominoes,
The Motions,
Ronan,
Jesper Dahlbäck,
In Retrospect,
the Fania All-Stars,
Yaz,
Eric Dolphy,
48th St. Collective,
Boz Scaggs,
The Cowsills,
Mark Hollis,
The Vogues,
the Sonics,
Nick Cave & The Bad Seeds,
Lakeside,
John Cale,
Swans,
Vainqueur,
The Raincoats,
Skriet,
Ultravox,
Stereo Dub,
Tropical Tobacco,
Inner City,
Nik Kershaw,
New York Dolls,
Gong,
DeepChord presents Echospace,
Radiopuhelimet,
Gang Green,
Banda Bassotti,
Anthony Braxton,
Lebanon Hanover, Lebanon Hanover, Lebanon Hanover, Lebanon Hanover.
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.