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 East Timor and from Stockholm.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Salvador and Winnipeg.
I'm losing my edge to the art-school Bremen 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 theremin 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 The Move to the dance kids.
I played it at the Troubador.
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 Gregory Isaacs. All the underground hits.
All The West Coast Pop Art Experimental Band tracks. I heard you have a vinyl of every Hardrive 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Bill Wells record.
I hear that you and your band have sold your güiro and bought a snare.
I hear that you and your band have sold your snare and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
Matthew Bourne,
Rahsaan Roland Kirk,
Robert Wyatt,
Ultramagnetic MC's,
Ten City,
Accadde A,
Ornette Coleman,
The Evens,
Beasts of Bourbon,
Kango’s Stein Massive,
E-Dancer,
Mantronix,
Hoover,
Index,
Ronnie Foster,
Mars,
Notorious Big And Bone Thugs,
Thompson Twins,
Roy Ayers Ubiquity,
The Divine Comedy,
The Cosmic Jokers,
B.T. Express,
Leonard Cohen,
The Shadows of Knight,
Sällskapet,
DeepChord presents Echospace,
H. Thieme,
Deakin,
Rhythim Is Rhythim,
Skriet,
Charles Mingus,
Eden Ahbez,
Lakeside,
Rapeman,
Terry Callier,
Black Bananas,
Davy DMX,
Soul II Soul,
Oblivians,
Sight & Sound,
Theoretical Girls,
The Martian,
Quadrant,
Unrelated Segments,
Country Joe & The Fish,
Eve St. Jones,
Shoche,
Pet Shop Boys,
Jerry Gold Smith,
Lou Christie,
Crispy Ambulance,
Chrome,
Infiniti,
Louis and Bebe Barron,
Graham Central Station,
Arcadia,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.