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 Slovakia and from Johannesburg.
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 1968 to 1974.
I'm losing my edge.
To all the kids in New York and Lagos.
I'm losing my edge to the art-school New York 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the rhodes 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 Velvet Underground to the jazz 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 The Fire Engines. All the underground hits.
All Ponytail tracks. I heard you have a vinyl of every LL Cool J record on German import.
I heard that you have a white label of every seminal punk 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 clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your 808 and bought a snare.
I hear that you and your band have sold your snare and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Ten City,
The Trojans,
Al Stewart,
Junior Murvin,
Goldenarms,
Kool G Rap & DJ Polo,
Ultra Naté,
Radio Birdman,
Erasure,
The Dave Clark Five,
The Techniques,
Robert Hood,
Don Cherry,
Supertramp,
Black Flag,
The Doors,
Con Funk Shun,
Juan Atkins,
The Gap Band,
Second Layer,
Glambeats Corp.,
Alton Ellis,
Joe Finger,
Essential Logic,
Pole,
Drexciya,
Agent Orange,
Swell Maps,
Livin' Joy,
Sandy B,
The Durutti Column,
Ronnie Foster,
The Golliwogs,
Gil Scott Heron,
Mars,
Oppenheimer Analysis,
Outsiders,
Unwound,
Severed Heads,
Banda Bassotti,
Red Lorry Yellow Lorry,
Fifty Foot Hose,
John Cale,
The Chocolate Watch Band,
Althea and Donna,
Mantronix,
Matthew Halsall,
Kings Of Tomorrow,
Minnie Riperton,
Piero Umiliani,
Albert Ayler,
Mad Mike,
The Fugs,
Scratch Acid,
Roger Hodgson,
Cheater Slicks,
Nick Fraelich,
The Sisters of Mercy,
Soft Machine,
Dark Day,
The West Coast Pop Art Experimental Band,
Interpol, Interpol, Interpol, Interpol.
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.