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 Antigua and from Shanghai.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Bologna and Cairo.
I'm losing my edge to the art-school Calgary 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 1967 at the first Rodriguez practice in a loft in Detroit.
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 Reagan Youth to the jazz 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 Pierre Henry. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every The Detroit Cobras 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 '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television,
Barclay James Harvest,
Deepchord,
Agitation Free,
Infiniti,
Man Parrish,
Skarface,
Ornette Coleman,
Leonard Cohen,
Minnie Riperton,
Delta 5,
Massinfluence,
T.S.O.L.,
Franke,
Gang Starr,
Country Joe & The Fish,
MC5,
Quando Quango,
Kings Of Tomorrow,
Pylon,
Harpers Bizarre,
Make Up,
Patti Smith,
Drive Like Jehu,
Marc Almond,
Wolf Eyes,
Grandmaster Flash,
Mad Mike,
The Doors,
Bobby Byrd,
Blossom Toes,
Motorama,
The Divine Comedy,
Electric Prunes,
The Dead C,
Deutsch Amerikanische Freundschaft,
Black Flag,
Man Eating Sloth,
Steve Hackett,
The Leaves,
The Golliwogs,
Absolute Body Control,
Mr. Review,
David Axelrod,
The Busters,
Parry Music,
De La Soul & Jungle Brothers,
Thee Headcoats,
Wasted Youth,
Jacob Miller,
Scratch Acid,
Visionaries,LMNO, T- Love & Iriscience,
Arab on Radar,
Skriet,
Lungfish,
Unwound,
Lou Christie,
FM Einheit,
Half Japanese,
Bobby Womack,
Dorothy Ashby,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.