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 Tajikistan and from Houston.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Madrid.
I'm losing my edge to the art-school Lyon 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 clarinet 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 June of 44 to the jazz kids.
I played it at the Hacienda.
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 James White and The Blacks. All the underground hits.
All Lower 48 tracks. I heard you have a vinyl of every Mad Mike record on German import.
I heard that you have a white label of every seminal dance 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 chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Moon,
Rhythm & Sound,
The Fortunes,
Charles Mingus,
Prince Buster,
X-101,
Grandmaster Flash and the Furious Five,
Gil Scott-Heron & Brian Jackson,
Erasure,
The Last Poets,
The Detroit Cobras,
Maurizio,
The Stooges,
Radio Birdman,
Kerrie Biddell,
The Happenings,
Scion,
LL Cool J,
Can,
Rapeman,
Stereo Dub,
Jacques Brel,
Crime,
Roy Ayers Ubiquity,
Yellowson,
Ultimate Spinach,
Average White Band,
Strawberry Alarm Clock,
Derrick May,
Rekid,
Marc Romboy vs. Booka Shade,
Godley & Creme,
U.S. Maple,
The Blackbyrds,
Rowland S Howard / Lydia Lunch,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Deutsch Amerikanische Freundschaft,
Technova,
Brick,
Suburban Knight,
Cameo,
Easy Going,
Main Source,
Justin Hinds & The Dominoes,
Buzzcocks,
Gang Gang Dance,
Mandrill,
Laurel Aitken,
Jawbox,
Soft Machine,
Bootsy's Rubber Band,
Jerry's Kids,
Wighnomy Brothers & Robag Wruhme,
Fatback Band,
Bobby Sherman,
Royal Trux,
The Cramps,
Yazoo,
Trumans Water,
Saccharine Trust,
PIL,
Bill Wells,
Roy Ayers,
Marmalade, Marmalade, Marmalade, Marmalade.
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.