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 Colombia and from London.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Columbus and Mexico City.
I'm losing my edge to the art-school Woodstock 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 Lou Reed 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 Alison Limerick to the grime 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 Liaisons Dangereuses. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every Quadrant record on German import.
I heard that you have a white label of every seminal dance 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 synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Evens record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
Motorama,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Aaron Thompson,
The Modern Lovers,
Dead Boys,
John Lydon,
Maleditus Sound,
Mo-Dettes,
Man Parrish,
Minnie Riperton,
Pharaoh Sanders and the Fire Engines,
Eddi Front,
The Residents,
Harmonia,
The Young Rascals,
Stereo Dub,
Lungfish,
Basic Channel,
Gil Scott Heron,
Camberwell Now,
Scientists,
Visionaries,LMNO, T- Love & Iriscience,
Lizzy Mercier Descloux,
Average White Band,
Heavy D & The Boyz,
The Blues Magoos,
Sam Rivers,
Lalann,
Jimmy McGriff,
Eyeless In Gaza,
Malaria!,
Gang of Four,
the Normal,
Marc Almond,
Bobbi Humphrey,
Pulsallama,
Röyhkä ja Rättö ja Lehtisalo,
Roy Ayers,
Grauzone,
Duran Duran,
Agitation Free,
Moby Grape,
Oneida,
Unrelated Segments,
Suburban Knight,
The Doors,
Moss Icon,
Hoover,
In Retrospect,
Angels of Light & Akron/Family,
Man Eating Sloth,
The Alarm Clocks,
Silicon Teens,
Model 500,
AZ,
X-102,
The Human League,
Sunsets and Hearts,
Livin' Joy,
Shuggie Otis,
The Gladiators,
Depeche Mode, Depeche Mode, Depeche Mode, Depeche Mode.
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.