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 Senegal and from Portland.
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 1973.
I'm losing my edge.
To all the kids in Lagos and Seoul.
I'm losing my edge to the art-school Winnipeg 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Bill Near to the techno kids.
I played it at the 40 Watt.
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 Jacques Brel. All the underground hits.
All Rhythm & Sound tracks. I heard you have a vinyl of every Joey Negro 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 '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
Brand Nubian,
Swans,
Spandau Ballet,
The Dave Clark Five,
Dorothy Ashby,
Oppenheimer Analysis,
Babytalk,
Stiv Bators,
Silicon Teens,
Lungfish,
Rod Modell,
Nick Fraelich,
Bauhaus,
Lou Reed,
Shoche,
Frankie Knuckles,
Masters at Work,
MDC,
Newcleus,
Erykah Badu,
Subhumans,
the Slits,
Duran Duran,
Easy Going,
Funkadelic,
DJ Style,
Todd Terry,
Vladislav Delay,
Derrick May,
Smog,
Hoover,
The Doobie Brothers,
FM Einheit,
Ten City,
Richard Hell and the Voidoids,
The Angels of Light,
Public Enemy,
Curtis Mayfield,
Talk Talk,
The Monochrome Set,
Tubeway Army,
EPMD,
Amon Düül,
Harmonia,
Eric Copeland,
Rhythm & Sound,
F. McDonald,
One Last Wish,
the Fania All-Stars,
Excepter,
Liliput,
Scan 7,
Underground Resistance,
The Associates,
The Velvet Underground,
The West Coast Pop Art Experimental Band,
The Buckinghams,
John Foxx,
The Blues Magoos,
Vainqueur,
Wighnomy Brothers & Robag Wruhme,
Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud, Super Lover Cee & Casanova Rud.
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.