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 Madagascar and from Manchester.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1960 to 1970.
I'm losing my edge.
To all the kids in Toronto and Shanghai.
I'm losing my edge to the art-school Houston 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 organ sounds with much patience.
I was there when Michael McDonald 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 Lightning Bolt to the techno kids.
I played it at CBGB's.
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 Young Rascals. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every Das Ding record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Moebius,
Model 500,
Lizzy Mercier Descloux,
The Slackers,
The Martian,
Althea and Donna,
Crispy Ambulance,
Anthony Braxton,
Public Enemy,
Warren Ellis,
8 Eyed Spy,
Sly & The Family Stone,
Vaughan Mason & Crew,
Ultra Naté,
Sight & Sound,
Dual Sessions,
Strawberry Alarm Clock,
Ronnie Foster,
The Gories,
Heavy D & The Boyz,
The Blues Magoos,
CMW,
Quadrant,
the Slits,
New York Dolls,
Mantronix,
Outsiders,
Sonic Youth,
Cecil Taylor,
Joyce Sims,
World's Most,
Gong,
Joe Finger,
Wire,
The Blackbyrds,
Radiopuhelimet,
Eyeless In Gaza,
Tomorrow,
Manfred Mann's Earth Band,
The Detroit Cobras,
Dennis Brown,
The Jesus and Mary Chain,
Gang Gang Dance,
Echo & the Bunnymen,
Terry Callier,
Black Bananas,
FM Einheit,
Agent Orange,
The Beau Brummels,
The Mojo Men,
The Slits,
Cluster,
Scott Walker,
Kerrie Biddell,
Sandy B,
The Cramps,
Isaac Hayes,
Faraquet,
Duran Duran,
Nik Kershaw,
Scratch Acid,
R.M.O.,
X-102, X-102, X-102, X-102.
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.