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 Seychelles and from Woodstock.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Lagos and Spokane.
I'm losing my edge to the art-school Tokyo 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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Barry Ungar to the disco kids.
I played it at Trash.
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 Men They Couldn't Hang. All the underground hits.
All the Human League tracks. I heard you have a vinyl of every Big Daddy Kane record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ice-T record.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stockholm Monsters,
Pete Rock & C.L. Smooth,
Liliput,
Nick Fraelich,
Derrick Morgan,
Lalo Schifrin,
LL Cool J,
Marmalade,
Supertramp,
Avey Tare,
Avey Tare & Kría Brekkan,
R.M.O.,
Sight & Sound,
Gastr Del Sol,
John Foxx,
Jesper Dahlbäck,
The Barracudas,
Alison Limerick,
Ash Ra Tempel,
Oppenheimer Analysis,
Lou Reed,
Soul Sonic Force,
The Modern Lovers,
Fat Boys,
X-102,
The United States of America,
Quantec,
Sad Lovers and Giants,
The Fire Engines,
Marc Romboy vs. Booka Shade,
Swell Maps,
The Real Kids,
Warren Ellis,
Deutsch Amerikanische Freundschaft,
DJ Style,
Aloha Tigers,
Japan,
Glenn Branca,
Wally Richardson,
Bobby Byrd,
Mad Mike,
Sandy B,
Thompson Twins,
Carl Craig,
KRS-One,
Jacques Brel,
Pussy Galore,
Tom Boy,
Outsiders,
The Move,
Popol Vuh,
Half Japanese,
The Remains,
Peter & Gordon,
Minutemen,
Pierre Henry,
Youth Brigade,
The Misunderstood,
DeepChord presents Echospace,
This Heat,
Scan 7,
Gil Scott Heron,
Rotary Connection,
The Dave Clark Five,
The Young Rascals, The Young Rascals, The Young Rascals, The Young Rascals.
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.