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 Bulgaria and from Spokane.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Philadelphia.
I'm losing my edge to the art-school Copenhagen 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 marimba 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 Flipper to the crunk 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 The Velvet Underground. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every Electric Prunes record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Spoonie Gee record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
Gastr Del Sol,
Bobby Womack,
Porter Ricks,
Black Moon,
David Axelrod,
Barbara Tucker,
T. Rex,
Howard Jones,
Camberwell Now,
The Human League,
Icehouse,
The Trojans,
Jesper Dahlbäck,
Lucky Dragons,
Piero Umiliani,
Tubeway Army,
Radiopuhelimet,
The Golliwogs,
Fatback Band,
The Fuzztones,
Wings,
Donald Byrd,
Gian Franco Pienzio,
Eyeless In Gaza,
The Grass Roots,
Crash Course in Science,
Ken Boothe,
Swell Maps,
Bill Wells,
Skriet,
Basic Channel,
Sex Pistols,
The Monks,
Spandau Ballet,
Yaz,
Adolescents,
Avey Tare & Kría Brekkan,
Accadde A,
Desert Stars,
Big Daddy Kane,
Barclay James Harvest,
Ultra Naté,
CMW,
Jesper Dahlback,
Peter Gordon & Love of Life Orchestra,
Siouxsie and the Banshees,
Country Joe & The Fish,
The Peanut Butter Conspiracy,
Supertramp,
Drive Like Jehu,
Liliput,
Ice-T,
the Association,
Bootsy's Rubber Band,
Beasts of Bourbon,
Wire,
Ultravox,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.