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 Argentina and from Delhi.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Winnipeg and Halifax.
I'm losing my edge to the art-school Salvador 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 linndrum 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 D'Angelo to the disco 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 The Gladiators. All the underground hits.
All Heaven 17 tracks. I heard you have a vinyl of every Pharoah Sanders record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Model 500 record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
Louis and Bebe Barron,
Girls At Our Best!,
Q65,
Minutemen,
Gian Franco Pienzio,
Drive Like Jehu,
Hoover,
Howard Jones,
The Durutti Column,
Funky Four + One,
The Zeros,
Avey Tare & Kría Brekkan,
Skriet,
Mars,
Moss Icon,
JFA,
Chris Corsano,
Second Layer,
The Pop Group,
John Holt,
Warsaw,
Iggy Pop,
Section 25,
Minny Pops,
Soft Machine,
The Wake,
The Slits,
Rotary Connection,
Anakelly,
London Community Gospel Choir,
FM Einheit,
Fugazi,
Sun Ra Arkestra,
Niagra,
Notorious Big And Bone Thugs,
David Axelrod,
Eurythmics,
Suburban Knight,
Yazoo,
Lou Reed,
Freddie Wadling,
Stetsasonic,
The Index,
Bronski Beat,
Television,
The Raincoats,
Thinking Fellers Union Local 282,
The Red Krayola,
World's Most,
Jacques Brel,
Pylon,
Animal Collective,
Soft Cell,
Hot Snakes,
Robert Wyatt,
Fort Wilson Riot,
Sight & Sound,
The Associates,
Kauko Röyhkä ja Narttu,
Au Pairs,
Reagan Youth,
Eve St. Jones,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.