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 Tunisia and from Toronto.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Jakarta and Tokyo.
I'm losing my edge to the art-school Jakarta 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 1973 at the first Television practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 The Star Department to the rap 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 Spandau Ballet. All the underground hits.
All Deepchord tracks. I heard you have a vinyl of every Donald Byrd 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 '70s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
Thee Headcoats,
Brass Construction,
The Fire Engines,
Crispy Ambulance,
Warren Ellis,
Joensuu 1685,
Major Organ And The Adding Machine,
Kenny Larkin,
Lou Christie,
The Move,
World's Most,
Alice Coltrane,
Boogie Down Productions,
Television,
Pierre Henry,
La Düsseldorf,
Gastr Del Sol,
Dave Gahan,
Amon Düül II,
Soulsonic Force,
Prince Buster,
The Fortunes,
Drexciya,
Eve St. Jones,
Andrew Hill,
Intrusion,
Quantec,
Chris & Cosey,
Popol Vuh,
ABC,
The Offenders,
June Days,
Amazonics,
Janne Schatter,
The Flesh Eaters,
Dark Day,
Minny Pops,
Jerry's Kids,
Rites of Spring,
Man Eating Sloth,
Richard Hell and the Voidoids,
Soul Sonic Force,
Nick Fraelich,
Wasted Youth,
Adolescents,
The Buckinghams,
Moss Icon,
Moebius,
Mad Mike,
Colin Newman,
Bad Manners,
New Age Steppers,
Electric Prunes,
Barry Ungar,
Strawberry Alarm Clock,
Ponytail,
T.S.O.L.,
Gil Scott-Heron and Jamie xx,
Jimmy McGriff,
Kevin Saunderson,
Blossom Toes,
Cheater Slicks,
Lungfish, Lungfish, Lungfish, Lungfish.
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.