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 Mauritania and from Lyon.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Bremen and Jakarta.
I'm losing my edge to the art-school Woodstock 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 chamberlin sounds with much patience.
I was there when David Bowie 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 Lucky Dragons to the jazz kids.
I played it at the Crocodile.
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 Brick. All the underground hits.
All Grey Daturas tracks. I heard you have a vinyl of every World's Most record on German import.
I heard that you have a white label of every seminal crunk 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 synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Subhumans record.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Clarke,
Thee Headcoats,
Newcleus,
Masters at Work,
Amazonics,
Main Source,
John Holt,
Jesper Dahlbäck,
Connie Case,
Radiohead,
Röyhkä ja Rättö ja Lehtisalo,
Bluetip,
Fela Kuti,
ABC,
The Standells,
Vladislav Delay,
The Fire Engines,
Jimmy McGriff,
Godley & Creme,
Quando Quango,
Yellowson,
Susan Cadogan,
The Raincoats,
Metal Thangz,
Porter Ricks,
One Last Wish,
Maleditus Sound,
Avey Tare & Kría Brekkan,
Technova,
Jesper Dahlback,
John Cale,
Man Parrish,
Sonic Youth,
Au Pairs,
Laurel Aitken,
Bush Tetras,
The Offenders,
Derrick Morgan,
Scott Walker + Sunn O))),
Can,
Gian Franco Pienzio,
Con Funk Shun,
Grandmaster Flash and the Furious Five,
Bauhaus,
The Men They Couldn't Hang,
LL Cool J,
Marmalade,
Beasts of Bourbon,
Dark Day,
The Young Rascals,
Nirvana,
MC5,
The Knickerbockers,
Black Pus,
The Residents,
Gang Green,
Neil Young,
Lower 48,
Khruangbin,
The Misunderstood,
Excepter,
Ultramagnetic MC's,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.