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 Nauru and from Edmonton.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1969 to 1977.
I'm losing my edge.
To all the kids in Paris and Salvador.
I'm losing my edge to the art-school Bremen 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 rhodes sounds with much patience.
I was there when Tom Verlaine 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 Orchestral Manoeuvres in the Dark to the techno kids.
I played it at the Spitz.
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 Minnie Riperton. All the underground hits.
All Sly & The Family Stone tracks. I heard you have a vinyl of every The Buckinghams record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Rakim record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Real Kids,
U.S. Maple,
Oblivians,
Alice Coltrane,
Letta Mbulu,
Fad Gadget,
Maurizio,
Steve Hackett,
The Techniques,
Guru Guru,
Bobbi Humphrey,
Index,
FM Einheit,
Oppenheimer Analysis,
Todd Terry,
In Retrospect,
Grey Daturas,
Scientists,
The Black Dice,
Gary Puckett & The Union Gap,
Heavy D & The Boyz,
the Slits,
Depeche Mode,
a-ha,
Grandmaster Flash and the Furious Five,
Pylon,
Duran Duran,
Mary Jane Girls,
The West Coast Pop Art Experimental Band,
Lakeside,
the Human League,
Manfred Mann's Earth Band,
Soft Machine,
Subhumans,
T.S.O.L.,
Wasted Youth,
Don Cherry,
The Cowsills,
Louis and Bebe Barron,
Boogie Down Productions,
Television,
Gastr Del Sol,
Hoover,
Unwound,
The Alarm Clocks,
Dorothy Ashby,
The Happenings,
Camouflage,
Howard Jones,
Eddi Front,
Nas,
Anakelly,
ABC,
Deutsch Amerikanische Freundschaft,
F. McDonald,
AZ,
Ronnie Foster,
Hot Snakes,
Wighnomy Brothers & Robag Wruhme,
Johnny Clarke,
Severed Heads,
Brand Nubian,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.