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 Guinea-Bissau and from Mexico City.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Calgary and Cairo.
I'm losing my edge to the art-school Shanghai 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 güiro sounds with much patience.
I was there when Nile Rodgers 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 Faraquet to the grime 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 Amon Düül. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every Tubeway Army record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Harry Pussy,
Arcadia,
The Fire Engines,
Flash Fearless,
Smog,
Andrew Hill,
La Düsseldorf,
Gichy Dan,
These Immortal Souls,
Lakeside,
Neil Young & Crazy Horse,
Maurizio,
Amon Düül II,
Tim Buckley,
Iggy Pop,
The Barracudas,
Massinfluence,
The Music Machine,
Neil Young,
Bizarre Inc.,
The Smoke,
Freddie Wadling,
Gerry Rafferty,
Gian Franco Pienzio,
Al Stewart,
The Seeds,
Skaos,
Blake Baxter,
Wings,
Icehouse,
Dawn Penn,
The Shadows of Knight,
Make Up,
Dual Sessions,
The Gories,
It's A Beautiful Day,
Robert Görl,
Slick Rick,
Ultramagnetic MC's,
The Monochrome Set,
Bobby Byrd,
Oppenheimer Analysis,
John Foxx,
Judy Mowatt,
Bootsy Collins,
Ultimate Spinach,
Japan,
Television,
Organ,
Soul Sonic Force,
John Lydon,
David Axelrod,
The Cosmic Jokers,
Siouxsie and the Banshees,
The Gladiators,
Desert Stars,
Saccharine Trust,
Girls At Our Best!,
The Five Americans,
Notorious Big And Bone Thugs,
Nik Kershaw,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.