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 Malaysia and from Toronto.
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 1979.
I'm losing my edge.
To all the kids in Calgary and Paris.
I'm losing my edge to the art-school Copenhagen 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 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 Scion to the crunk kids.
I played it at the Roxy.
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 Liaisons Dangereuses. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every ABC record on German import.
I heard that you have a white label of every seminal funk 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 harpsichord and a spring reverb 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 linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
Cluster,
The Mummies,
It's A Beautiful Day,
Chrome,
Andrew Ashong & Theo Parrish,
Popol Vuh,
Eric Dolphy,
Man Eating Sloth,
Fluxion,
Niagra,
X-101,
Shoche,
Nico,
Bang On A Can,
Eli Mardock,
the Sonics,
Cameo,
Quadrant,
Davy DMX,
The Slackers,
Ronnie Foster,
Peter & Gordon,
Rotary Connection,
The Cowsills,
Grandmaster Flash and the Furious Five,
The New Christs,
The Moody Blues,
Rekid,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Altered Images,
Lakeside,
Iggy Pop,
Zapp,
Whodini,
The Mojo Men,
Warsaw,
Ultra Naté,
Peter Gordon & Love of Life Orchestra,
The Wake,
Hasil Adkins,
Organ,
Fort Wilson Riot,
Rakim,
A Flock of Seagulls,
Country Joe & The Fish,
Hot Snakes,
Magma,
Echo & the Bunnymen,
Brass Construction,
Quantec,
Groovy Waters,
MDC,
Magazine,
The Pop Group,
Red Lorry Yellow Lorry,
48th St. Collective,
In Retrospect,
Jeff Lynne,
Pole,
Negative Approach,
Mandrill,
E-Dancer, E-Dancer, E-Dancer, E-Dancer.
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.