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 Guinea-Bissau and from Stockholm.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Beijing and Manchester.
I'm losing my edge to the art-school Calgary 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 snare 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 Ultravox to the funk kids.
I played it at the Troubador.
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 Marshall Jefferson. All the underground hits.
All Schoolly D tracks. I heard you have a vinyl of every Grauzone record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Gian Franco Pienzio record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Toasters,
Barbara Tucker,
Maurizio,
David Bowie,
Alison Limerick,
The Move,
Niagra,
The Sound,
Q and Not U,
Gerry Rafferty,
Pagans,
the Normal,
X-102,
Technova,
Harpers Bizarre,
The Music Machine,
Ten City,
Pole,
Rekid,
Bootsy's Rubber Band,
Rites of Spring,
The Five Americans,
Lafayette Afro Rock Band,
The Angels of Light,
Janne Schatter,
Yusef Lateef,
Joe Smooth,
Buzzcocks,
Lou Christie,
Derrick Morgan,
The Walker Brothers,
Terrestrial Tones,
Bill Near,
Model 500,
Kas Product,
Strawberry Alarm Clock,
Sticky Fingaz feat. Raekwon,
Rufus Thomas,
Goldenarms,
Juan Atkins,
a-ha,
Roy Ayers Ubiquity,
Wolf Eyes,
The Fugs,
Sun Ra Arkestra,
Traffic Nightmare,
Hasil Adkins,
Black Pus,
Urselle,
Ken Boothe,
Boredoms,
Gregory Isaacs,
Sun City Girls,
Blancmange,
Aural Exciters,
Jesper Dahlbäck,
Visage,
Marcia Griffiths,
Blake Baxter,
The Cramps,
Pete Rock & C.L. Smooth,
Donald Byrd,
Thinking Fellers Union Local 282,
Wasted Youth, Wasted Youth, Wasted Youth, Wasted Youth.
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.