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 Argentina and from Sao Paulo.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Portland and Glasgow.
I'm losing my edge to the art-school Johannesburg 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 harpsichord sounds with much patience.
I was there when Holger Czukay 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 Lou Christie to the punk kids.
I played it at CBGB's.
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 Brass Construction tracks. I heard you have a vinyl of every Marine Girls 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 '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Tres Demented record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
Soulsonic Force,
De La Soul & Jungle Brothers,
Ten City,
Au Pairs,
Fort Wilson Riot,
The Birthday Party,
The Cosmic Jokers,
Bobby Hutcherson,
Bill Near,
The Litter,
Sunsets and Hearts,
Rhythim Is Rhythim,
Unrelated Segments,
Wighnomy Brothers & Robag Wruhme,
ABC,
Deepchord,
Ossler,
D'Angelo,
Talk Talk,
Blancmange,
Todd Terry,
Curtis Mayfield,
Eurythmics,
Dead Boys,
Gichy Dan,
Cluster,
Ash Ra Tempel,
The Index,
Amon Düül II,
the Association,
Lower 48,
Angels of Light & Akron/Family,
Neil Young & Crazy Horse,
Gil Scott-Heron & Brian Jackson,
Subhumans,
Cymande,
Brothers Johnson,
Lee Hazlewood,
The Moleskins,
Andrew Hill,
La Düsseldorf,
U.S. Maple,
Model 500,
Graham Central Station,
Eric Copeland,
Lyres,
Reagan Youth,
Sixth Finger,
Crime,
Barclay James Harvest,
Be Bop Deluxe,
ABBA,
Anthony Braxton,
Ultra Naté,
Cal Tjader,
Lucky Dragons,
Chrome,
Duran Duran,
Iggy Pop,
Grandmaster Flash and the Furious Five,
Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra, Sun Ra Arkestra.
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.