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 Spokane.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Seoul.
I'm losing my edge to the art-school Manchester 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 Tom Verlaine 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 Unwound to the techno 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 Lungfish. All the underground hits.
All The Cramps tracks. I heard you have a vinyl of every OOIOO record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Camron Feat. Memphis Bleek And Beenie Seigel record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
Quadrant,
Faraquet,
Big Daddy Kane,
The Pretty Things,
The Selecter,
Leonard Cohen,
Ornette Coleman,
Funky Four + One,
Fort Wilson Riot,
Average White Band,
Barclay James Harvest,
Nas,
Joey Negro,
Byron Stingily,
Visionaries,LMNO, T- Love & Iriscience,
Carl Craig,
Sarah Menescal,
Prince Buster,
Gang Starr,
Bobby Sherman,
Mary Jane Girls,
Letta Mbulu,
Minutemen,
Lalann,
Al Stewart,
The Blackbyrds,
T. Rex,
Unrelated Segments,
The Doors,
Skriet,
Yaz,
New Age Steppers,
Tres Demented,
Buzzcocks,
Ultimate Spinach,
Reuben Wilson,
Anthony Braxton,
Rhythim Is Rhythim,
Eurythmics,
Joensuu 1685,
Bush Tetras,
The Gun Club,
Dark Day,
Crispy Ambulance,
John Lydon,
Lightning Bolt,
Man Eating Sloth,
8 Eyed Spy,
Unwound,
Country Joe & The Fish,
Sound Behaviour,
Lucky Dragons,
Jimmy McGriff,
Scott Walker,
Interpol,
Royal Trux,
De La Soul & Jungle Brothers,
Cecil Taylor,
Y Pants,
Scratch Acid,
Todd Terry,
Liliput, Liliput, Liliput, Liliput.
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.