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 Djibouti and from Edmonton.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Paris and Mexico City.
I'm losing my edge to the art-school Shanghai 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 Nile Rodgers 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 Fad Gadget to the dance 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 Danielle Patucci. All the underground hits.
All Iggy Pop tracks. I heard you have a vinyl of every The Velvet Underground record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a A Flock of Seagulls 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?
Simply Red,
Rotary Connection,
Delon & Dalcan,
Liaisons Dangereuses,
Davy DMX,
Chris & Cosey,
Electric Prunes,
Kenny Larkin,
Cal Tjader,
Thinking Fellers Union Local 282,
Juan Atkins,
Joey Negro,
Kerrie Biddell,
Eve St. Jones,
Carl Craig,
Prince Buster,
Wire,
Marshall Jefferson,
Gregory Isaacs,
Spoonie Gee,
Curtis Mayfield,
Masters at Work,
The Black Dice,
Blossom Toes,
Sexual Harrassment,
Lee Hazlewood,
Letta Mbulu,
The Durutti Column,
Glenn Branca,
Josef K,
Absolute Body Control,
Rahsaan Roland Kirk,
Alton Ellis,
Hashim,
T.S.O.L.,
Oblivians,
Icehouse,
CMW,
Ultra Naté,
Vaughan Mason & Crew,
Funkadelic,
Excepter,
China Crisis,
Flamin' Groovies,
Pharoah Sanders,
X-Ray Spex,
The Fuzztones,
Neil Young & Crazy Horse,
Faraquet,
Symarip,
Andrew Ashong & Theo Parrish,
Black Sheep,
The Buckinghams,
Flash Fearless,
Procol Harum,
Pantytec,
Inner City,
The Alarm Clocks,
The Pretty Things,
Buzzcocks,
Barclay James Harvest,
FM Einheit,
Glambeats Corp.,
Kurtis Blow,
The Cure, The Cure, The Cure, The Cure.
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.