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 Finland and from Salvador.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Seoul and London.
I'm losing my edge to the art-school Mumbai 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 Captain Beefheart 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 Fat Boys to the electroclash 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 Trumans Water. All the underground hits.
All Boogie Down Productions tracks. I heard you have a vinyl of every One Last Wish record on German import.
I heard that you have a white label of every seminal punk 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 an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Glambeats Corp. record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
EPMD,
Man Parrish,
MDC,
Orchestral Manoeuvres in the Dark,
The Monks,
Cymande,
Duran Duran,
Jesper Dahlbäck,
Cabaret Voltaire,
Liliput,
Man Eating Sloth,
Lungfish,
Glambeats Corp.,
Sight & Sound,
Malaria!,
Animal Collective,
Mr. Review,
The Star Department,
Tubeway Army,
Lindisfarne,
DeepChord presents Echospace,
Supertramp,
Davy DMX,
Fugazi,
Ash Ra Tempel,
Tom Boy,
Strawberry Alarm Clock,
CMW,
Roy Ayers,
The Men They Couldn't Hang,
Scan 7,
The Cosmic Jokers,
Henry Cow,
Grauzone,
Delta 5,
Groovy Waters,
Nirvana,
Gabor Szabo,
Accadde A,
Kerrie Biddell,
the Association,
Wally Richardson,
Main Source,
Tres Demented,
UT,
Blancmange,
The Red Krayola,
PIL,
cv313,
Bob Dylan,
Yusef Lateef,
Big Daddy Kane,
Q and Not U,
Flamin' Groovies,
Ponytail,
Morten Harket,
Magazine,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.