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 Mauritania and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Tokyo.
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 clarinet 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 New Order to the punk kids.
I played it at the Troubador.
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 Colin Newman. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every Flash Fearless 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 '90s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sad Lovers and Giants,
The Knickerbockers,
Pet Shop Boys,
The Trojans,
James White and The Blacks,
The Leaves,
Goldenarms,
Drexciya,
Crash Course in Science,
Dave Gahan,
Hardrive,
Godley & Creme,
Jimmy McGriff,
The Shadows of Knight,
Silicon Teens,
Frankie Knuckles,
The Slits,
Monolake,
The Residents,
Ralphi Rosario,
Sunsets and Hearts,
Mad Mike,
The Monochrome Set,
Bill Wells,
Scratch Acid,
Desert Stars,
Marvin Gaye,
The Count Five,
Maleditus Sound,
Lungfish,
PIL,
Jerry Gold Smith,
Lalo Schifrin,
Kevin Saunderson,
Qualms,
Jesper Dahlback,
Television Personalities,
Quando Quango,
Swans,
Main Source,
The Velvet Underground,
The Young Rascals,
Kurtis Blow,
The American Breed,
The Red Krayola,
Oneida,
The Litter,
The Dave Clark Five,
the Association,
Wasted Youth,
Sixth Finger,
Steve Hackett,
Jerry's Kids,
Audionom,
AZ,
Notorious BIG live in Amsterdam,
The Golliwogs,
The Sisters of Mercy,
48th St. Collective,
Chris Corsano,
Yazoo,
The Fugs,
Organ,
E-Dancer,
Oblivians, Oblivians, Oblivians, Oblivians.
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.