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 Fiji and from New York.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1971.
I'm losing my edge.
To all the kids in Copenhagen and Sao Paulo.
I'm losing my edge to the art-school Mexico City 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 sitar 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 Henry Cow to the techno kids.
I played it at the Hacienda.
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 Aaron Thompson. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every Scott Walker 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 an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Delon & Dalcan record.
I hear that you and your band have sold your oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Sherman,
Anthony Braxton,
Siouxsie and the Banshees,
MDC,
Joy Division,
Ohio Players,
D'Angelo,
Robert Görl,
The Grass Roots,
Audionom,
Soulsonic Force,
Dead Boys,
Mary Jane Girls,
Girls At Our Best!,
Lungfish,
Das Ding,
Fat Boys,
T.S.O.L.,
Don Cherry,
Talk Talk,
B.T. Express,
Todd Rundgren,
Johnny Clarke,
Kaleidoscope,
Mr. Review,
The Walker Brothers,
48th St. Collective,
Ronan,
Warren Ellis,
Livin' Joy,
Justin Hinds & The Dominoes,
The Skatalites,
CMW,
Can,
Bill Wells,
Pierre Henry,
Arthur Verocai,
Hoover,
The Detroit Cobras,
Boogie Down Productions,
Television Personalities,
Mad Mike,
E-Dancer,
Rites of Spring,
The Selecter,
Mandrill,
Quando Quango,
Skarface,
Metal Thangz,
Traffic Nightmare,
Gary Puckett & The Union Gap,
Jerry Gold Smith,
Heavy D & The Boyz,
Dorothy Ashby,
LL Cool J,
H. Thieme,
Roxy Music,
The Red Krayola,
Zero Boys,
Sad Lovers and Giants,
Judy Mowatt,
The Monochrome Set,
Peter & Gordon, Peter & Gordon, Peter & Gordon, Peter & Gordon.
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.