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 Uganda and from Delhi.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Madrid and Philadelphia.
I'm losing my edge to the art-school Portland 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 808 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 The Gap Band to the rap 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 kango's stein massive. All the underground hits.
All Grey Daturas tracks. I heard you have a vinyl of every Hot Snakes 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 '50s cut and another box set from the '80s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Zeros,
The Beau Brummels,
Chris & Cosey,
Altered Images,
Marcia Griffiths,
Avey Tare's Slasher Flicks,
Mad Mike,
Derrick May,
Goldenarms,
Ultravox,
The Searchers,
The Evens,
Matthew Bourne,
Be Bop Deluxe,
Hoover,
Arthur Verocai,
Grandmaster Flash and the Furious Five,
The Fall,
Trumans Water,
The West Coast Pop Art Experimental Band,
Sam Rivers,
Gerry Rafferty,
Deutsch Amerikanische Freundschaft,
The Music Machine,
The Seeds,
Easy Going,
Throbbing Gristle,
Joyce Sims,
The Angels of Light,
Avey Tare & Kría Brekkan,
Lyres,
Brick,
Josef K,
Carl Craig,
Television,
Livin' Joy,
The Barracudas,
The Human League,
The Fuzztones,
Gang Gang Dance,
Rekid,
Max Romeo,
Blake Baxter,
Main Source,
The New Christs,
Oppenheimer Analysis,
Frankie Knuckles,
The Sound,
The Smiths,
La Düsseldorf,
Agent Orange,
Terrestrial Tones,
Suicide,
The J.B.'s,
Rotary Connection,
Harry Pussy,
Rod Modell,
The Dirtbombs,
Pylon,
Gil Scott-Heron and Jamie xx,
Marmalade, Marmalade, Marmalade, Marmalade.
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.