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 Cape Verde and from Salvador.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1972.
I'm losing my edge.
To all the kids in Lagos and Milan.
I'm losing my edge to the art-school Tokyo 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 spring reverb 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 Dark Day to the dance kids.
I played it at the Astoria.
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 Chris & Cosey. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Con Funk Shun,
the Soft Cell,
The West Coast Pop Art Experimental Band,
Harpers Bizarre,
Ronnie Foster,
Lee Hazlewood,
10cc,
The Litter,
Frankie Knuckles,
Laurel Aitken,
L. Decosne,
Bobby Hutcherson,
Manfred Mann's Earth Band,
Pulsallama,
the Slits,
The Moody Blues,
Black Moon,
the Germs,
D'Angelo,
Tropical Tobacco,
Crooked Eye,
Beasts of Bourbon,
Cymande,
Surgeon,
The Black Dice,
Richard Hell and the Voidoids,
The Zeros,
The Wake,
Gerry Rafferty,
U.S. Maple,
Brick,
Barbara Tucker,
Pete Rock & C.L. Smooth,
Isaac Hayes,
Harry Pussy,
Marvin Gaye,
Be Bop Deluxe,
Porter Ricks,
Jeff Mills,
Josef K,
Gichy Dan,
Eurythmics,
In Retrospect,
Sonny Sharrock,
Fifty Foot Hose,
Glenn Branca,
Babytalk,
Arthur Verocai,
Chris & Cosey,
The Selecter,
Sällskapet,
Panda Bear,
Bobby Sherman,
Depeche Mode,
The Mummies,
Flipper,
Mr. Review,
Soft Cell,
Avey Tare & Kría Brekkan,
DJ Style,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
These Immortal Souls,
ABC, ABC, ABC, ABC.
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.