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 Korea South and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1973.
I'm losing my edge.
To all the kids in Glasgow and Houston.
I'm losing my edge to the art-school Sao Paulo 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 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 Sam Rivers to the rap kids.
I played it at the Spitz.
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 Music Machine. All the underground hits.
All The Monochrome Set tracks. I heard you have a vinyl of every Eli Mardock 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 '70s cut and another box set from the '70s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Buckinghams,
James Chance & The Contortions,
Kango’s Stein Massive,
The Smoke,
Black Moon,
Fugazi,
La Düsseldorf,
Jawbox,
Skaos,
Lou Christie,
Rod Modell,
Notorious BIG live in Amsterdam,
Gichy Dan,
Ludus,
Traffic Nightmare,
Sad Lovers and Giants,
Ten City,
Laurel Aitken,
Rosa Yemen,
The Golliwogs,
John Holt,
Scott Walker + Sunn O))),
Red Lorry Yellow Lorry,
CMW,
LL Cool J,
Pylon,
Rekid,
De La Soul & Jungle Brothers,
Joe Finger,
The United States of America,
The Moleskins,
Mantronix,
Godley & Creme,
Easy Going,
Faust,
Technova,
The Techniques,
The Slits,
Electric Light Orchestra,
Pharaoh Sanders and the Fire Engines,
Moss Icon,
MC5,
Jimmy McGriff,
Television,
the Bar-Kays,
FM Einheit,
New Order,
Marvin Gaye,
Alton Ellis,
Ice-T,
Infiniti,
Rowland S Howard / Lydia Lunch,
Kerri Chandler,
DNA,
Surgeon,
Freddie Wadling,
Robert Görl,
Jesper Dahlbäck,
Roxy Music,
Henry Cow,
The Misunderstood, The Misunderstood, The Misunderstood, The Misunderstood.
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.