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 Panama and from Calgary.
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 1962 to 1979.
I'm losing my edge.
To all the kids in Johannesburg and Lagos.
I'm losing my edge to the art-school Stockholm 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Jesper Dahlbäck to the electroclash kids.
I played it at the Crocodile.
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 Section 25. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal electroclash 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 an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your clarinet and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Vainqueur,
Jimmy McGriff,
The Zeros,
Altered Images,
The Gun Club,
Magma,
Fat Boys,
Model 500,
Angels of Light & Akron/Family,
Amazonics,
A Certain Ratio,
Soul Sonic Force,
Patti Smith,
Schoolly D,
Aloha Tigers,
Bizarre Inc.,
Kurtis Blow,
Popol Vuh,
Bobby Hutcherson,
Pharaoh Sanders and the Fire Engines,
Ralphi Rosario,
Marine Girls,
Monolake,
The Happenings,
48th St. Collective,
Aural Exciters,
Alice Coltrane,
The Young Rascals,
Oppenheimer Analysis,
Sound Behaviour,
Eyeless In Gaza,
Bad Manners,
Pussy Galore,
Malaria!,
The Knickerbockers,
Electric Light Orchestra,
Sad Lovers and Giants,
Mr. Review,
the Swans,
Ituana,
The Alarm Clocks,
A Flock of Seagulls,
The Electric Prunes,
Joensuu 1685,
The New Christs,
Duran Duran,
The Buckinghams,
Jerry's Kids,
FM Einheit,
Parry Music,
MC5,
Cluster,
Kauko Röyhkä ja Narttu,
Sun Ra,
the Germs,
The West Coast Pop Art Experimental Band,
Magazine,
Little Man,
Mantronix,
Infiniti,
Faust, Faust, Faust, Faust.
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.