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 Nauru and from Jakarta.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Toronto and New York.
I'm losing my edge to the art-school Milan 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 Japan to the rap kids.
I played it at Cafe Wha.
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 Ultramagnetic MC's. All the underground hits.
All Alphaville tracks. I heard you have a vinyl of every Robert Görl 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 '90s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lalo Schifrin record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
B.T. Express,
LL Cool J,
Lightning Bolt,
Lou Reed & Metallica,
The Moleskins,
Jandek,
Bobby Byrd,
The Buckinghams,
The West Coast Pop Art Experimental Band,
Lalo Schifrin,
Derrick May,
One Last Wish,
Joe Finger,
Bob Dylan,
Kool G Rap & DJ Polo,
Joensuu 1685,
Lucky Dragons,
Eyeless In Gaza,
Pole,
Newcleus,
Hot Snakes,
The Monochrome Set,
a-ha,
Easy Going,
Scratch Acid,
Goldenarms,
The Smiths,
Chrome,
Ralphi Rosario,
The Names,
Tears for Fears,
Symarip,
Depeche Mode,
Boogie Down Productions,
Dawn Penn,
Monks,
Colin Newman,
Roxy Music,
Derrick Morgan,
Bobby Hutcherson,
Bang On A Can,
Mars,
Bizarre Inc.,
Maurizio,
Pharaoh Sanders and the Fire Engines,
DJ Sneak,
Skriet,
Orchestral Manoeuvres in the Dark,
Peter & Gordon,
Pylon,
The Dave Clark Five,
Stockholm Monsters,
Black Pus,
Royal Trux,
kango's stein massive,
Don Cherry,
Oblivians,
The Fortunes,
Talk Talk, Talk Talk, Talk Talk, Talk Talk.
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.