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 Romania and from Jakarta.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Portland and Tokyo.
I'm losing my edge to the art-school Salvador 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 güiro sounds with much patience.
I was there when David Bowie 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 Drexciya to the disco kids.
I played it at the 40 Watt.
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 Bob Dylan. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every Skaos 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 spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Finger,
Godley & Creme,
Marc Almond,
Al Stewart,
John Foxx,
Judy Mowatt,
Boredoms,
Henry Cow,
Oblivians,
Kurtis Blow,
Main Source,
X-101,
Rhythm & Sound,
Electric Light Orchestra,
Sonic Youth,
Teenage Jesus and the Jerks,
Jimmy McGriff,
Max Romeo,
a-ha,
The Cowsills,
Vaughan Mason & Crew,
Patti Smith,
Pagans,
Marshall Jefferson,
Crispy Ambulance,
Vainqueur,
Sparks,
Kango’s Stein Massive,
Los Fastidios,
Black Moon,
Lalo Schifrin,
Pharaoh Sanders and the Fire Engines,
Pere Ubu,
The Jesus and Mary Chain,
Yellowson,
Andrew Ashong & Theo Parrish,
Thee Headcoats,
PIL,
Whodini,
Motorama,
Joyce Sims,
Hardrive,
The American Breed,
Donald Byrd,
The Martian,
Anakelly,
The Monks,
Brick,
Roxette,
Buzzcocks,
Bobbi Humphrey,
Underground Resistance,
Spoonie Gee,
Laurel Aitken,
Larry & the Blue Notes,
Scan 7,
Grauzone,
Lightning Bolt,
The Alarm Clocks,
Bauhaus,
The Pretty Things,
Cybotron,
Agent Orange,
Guru Guru, Guru Guru, Guru Guru, Guru Guru.
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.