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 Senegal and from Jakarta.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Halifax and Sao Paulo.
I'm losing my edge to the art-school Beijing 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 1973 at the first Television practice in a loft in New York.
I was working on the arpeggiator 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 Lakeside to the dance 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 Neil Young. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every Oppenheimer Analysis record on German import.
I heard that you have a white label of every seminal electroclash 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 808 and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II 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?
Marshall Jefferson,
Wighnomy Brothers & Robag Wruhme,
Sixth Finger,
Jimmy McGriff,
Pole,
Joe Smooth,
Monks,
Gregory Isaacs,
Circle Jerks,
Deutsch Amerikanische Freundschaft,
The Martian,
The Cure,
Blancmange,
Black Moon,
LL Cool J,
Andrew Hill,
Shoche,
Wasted Youth,
Bauhaus,
Kerri Chandler,
The Modern Lovers,
In Retrospect,
Grandmaster Flash and the Furious Five,
KRS-One,
Kevin Saunderson,
Agent Orange,
Archie Shepp,
Erykah Badu,
Mr. Review,
This Heat,
The Royal Family And The Poor,
Selector Dub Narcotic,
Lonnie Liston Smith,
It's A Beautiful Day,
The Detroit Cobras,
Technova,
The Trojans,
Sarah Menescal,
The Men They Couldn't Hang,
Siouxsie and the Banshees,
Gichy Dan,
Cabaret Voltaire,
Severed Heads,
Frankie Knuckles,
ABC,
Surgeon,
Scott Walker,
ABBA,
Boz Scaggs,
Absolute Body Control,
Los Fastidios,
Pierre Henry,
Tomorrow,
Morten Harket,
Pete Rock & C.L. Smooth,
Babytalk,
Alice Coltrane,
Crash Course in Science,
Camron Feat. Memphis Bleek And Beenie Seigel,
Oppenheimer Analysis,
Sad Lovers and Giants,
Delta 5,
Super Lover Cee & Casanova Rud,
The Five Americans, The Five Americans, The Five Americans, The Five Americans.
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.