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 Niger and from Tokyo.
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 1969 to 1979.
I'm losing my edge.
To all the kids in Hong Kong and Bremen.
I'm losing my edge to the art-school Paris 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Joensuu 1685 to the crunk kids.
I played it at the Astoria.
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 It's A Beautiful Day. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Franke 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 '80s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your mellotron and bought a 808.
I hear that you and your band have sold your 808 and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Bauhaus,
Aloha Tigers,
The J.B.'s,
Jacob Miller,
Talk Talk,
Crime,
Pantaleimon,
Roxy Music,
Black Pus,
Archie Shepp,
The Divine Comedy,
Ten City,
Inner City,
The Toasters,
John Cale,
Nico,
The Angels of Light,
Nick Fraelich,
Parry Music,
T.S.O.L.,
Barbara Tucker,
Mandrill,
Tom Boy,
Masters at Work,
Aswad,
The Selecter,
DeepChord presents Echospace,
Maleditus Sound,
Lakeside,
Gerry Rafferty,
Kaleidoscope,
Stetsasonic,
The Durutti Column,
Bobby Womack,
Little Man,
Soft Cell,
Average White Band,
Wally Richardson,
Alison Limerick,
Supertramp,
Grandmaster Flash,
Avey Tare,
Eyeless In Gaza,
Ash Ra Tempel,
Brothers Johnson,
Flipper,
Soul Sonic Force,
John Foxx,
MC5,
Cymande,
Con Funk Shun,
Strawberry Alarm Clock,
Ralphi Rosario,
The Fuzztones,
48th St. Collective,
Marvin Gaye,
Roy Ayers,
Deakin,
The Wake,
Aaron Thompson,
Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade, Marc Romboy vs. Booka Shade.
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.