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 Latvia and from Portland.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Lyon and Glasgow.
I'm losing my edge to the art-school Milan 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Sound Behaviour to the electroclash kids.
I played it at Cafe Wha.
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 Brand Nubian. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Don Cherry record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
The Monochrome Set,
Grauzone,
Symarip,
The Busters,
Carl Craig,
The Men They Couldn't Hang,
Jimmy McGriff,
Roy Ayers,
Boogie Down Productions,
Magazine,
Rowland S Howard / Lydia Lunch,
Lungfish,
Lizzy Mercier Descloux,
Camberwell Now,
The Saints,
The Grass Roots,
Animal Collective,
the Normal,
Can,
Sunsets and Hearts,
The Angels of Light,
Robert Görl,
Notorious Big And Bone Thugs,
Eddi Front,
Mo-Dettes,
Lou Christie,
Spoonie Gee,
Drexciya,
Theoretical Girls,
Warsaw,
Duran Duran,
Amon Düül,
Pulsallama,
The Moody Blues,
The Victims,
Toni Rubio,
Reuben Wilson,
Gil Scott-Heron & Brian Jackson,
Avey Tare's Slasher Flicks,
Massinfluence,
Malaria!,
Sun City Girls,
Ten City,
Los Fastidios,
Easy Going,
Oblivians,
Arthur Verocai,
James White and The Blacks,
Fort Wilson Riot,
Masters at Work,
Bobby Womack,
Jacques Brel,
John Lydon,
Surgeon,
The Litter,
Ash Ra Tempel,
Janne Schatter,
The Associates,
The Knickerbockers,
Black Pus,
Japan,
Stetsasonic,
The Trojans, The Trojans, The Trojans, The Trojans.
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.