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 Lithuania and from Madrid.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Toronto and Edmonton.
I'm losing my edge to the art-school Bologna 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the clarinet 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 Icehouse to the techno kids.
I played it at the Roxy.
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 Howard Jones. All the underground hits.
All Black Bananas tracks. I heard you have a vinyl of every Camberwell Now record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool G Rap & DJ Polo,
Neu!,
B.T. Express,
Fear,
In Retrospect,
The Techniques,
Eli Mardock,
Delta 5,
Sound Behaviour,
Howard Jones,
Hoover,
Tears for Fears,
Royal Trux,
Faust,
The Vogues,
Deutsch Amerikanische Freundschaft,
Second Layer,
Joyce Sims,
the Bar-Kays,
Minnie Riperton,
Blake Baxter,
Isaac Hayes,
Avey Tare & Kría Brekkan,
Erykah Badu,
Dawn Penn,
Cecil Taylor,
Crime,
Bootsy Collins,
Rotary Connection,
Fat Boys,
Zero Boys,
Oppenheimer Analysis,
Maurizio,
the Human League,
Roy Ayers Ubiquity,
Davy DMX,
Ossler,
Amon Düül,
Kerrie Biddell,
Siouxsie and the Banshees,
Oblivians,
Alton Ellis,
Das Ding,
Interpol,
Scratch Acid,
The Detroit Cobras,
Deakin,
New Age Steppers,
Peter & Gordon,
Sällskapet,
David Axelrod,
Avey Tare,
Carl Craig,
Harpers Bizarre,
the Swans,
EPMD,
Pet Shop Boys,
Harmonia,
Unrelated Segments,
F. McDonald,
Gichy Dan, Gichy Dan, Gichy Dan, Gichy Dan.
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.