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 Mongolia and from Houston.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Milan and Bologna.
I'm losing my edge to the art-school Winnipeg 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 oboe sounds with much patience.
I was there when Nile Rodgers 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 Shoche to the jazz kids.
I played it at Cafe Wha.
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 Avey Tare's Slasher Flicks. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Infiniti 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your mellotron and bought a 808.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
Stereo Dub,
Bobby Hutcherson,
The Gladiators,
X-101,
Davy DMX,
The Selecter,
Ajijia Myrayebe,
Ten City,
Boogie Down Productions,
Goldenarms,
Rotary Connection,
DNA,
Todd Terry,
Little Man,
Gabor Szabo,
Saccharine Trust,
Fat Boys,
Monolake,
The Men They Couldn't Hang,
Severed Heads,
Sad Lovers and Giants,
Sly & The Family Stone,
Piero Umiliani,
Tomorrow,
The Happenings,
Sunsets and Hearts,
The Dead C,
The Remains,
Bizarre Inc.,
The Names,
The Real Kids,
The Cramps,
Pharaoh Sanders and the Fire Engines,
Scott Walker + Sunn O))),
Warren Ellis,
The Mighty Diamonds,
The Fuzztones,
Andrew Ashong & Theo Parrish,
Rekid,
Inner City,
Alphaville,
Reagan Youth,
Pylon,
Ludus,
Faust,
Aural Exciters,
Fear,
Art Ensemble Of Chicago,
John Coltrane,
E-Dancer,
Ronan,
Arab on Radar,
Icehouse,
Mantronix,
Freddie Wadling,
Supertramp,
Jeff Mills,
Oneida,
Dark Day,
Wighnomy Brothers & Robag Wruhme,
D'Angelo,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.