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 Moldova and from Manila.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Columbus and Beijing.
I'm losing my edge to the art-school Sao Paulo 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 sitar sounds with much patience.
I was there when David Bowie 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 Oppenheimer Analysis to the punk kids.
I played it at the Crocodile.
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 X-Ray Spex. All the underground hits.
All Dave Gahan tracks. I heard you have a vinyl of every The Last Poets record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Eric Dolphy record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Boredoms,
Nas,
Interpol,
Stetsasonic,
ABBA,
Siglo XX,
Marc Almond,
Curtis Mayfield,
Outsiders,
Scratch Acid,
Babytalk,
Jacob Miller,
R.M.O.,
The Gun Club,
The Doors,
Bluetip,
Can,
Man Eating Sloth,
Röyhkä ja Rättö ja Lehtisalo,
Janne Schatter,
Judy Mowatt,
Major Organ And The Adding Machine,
New York Dolls,
Motorama,
the Swans,
Patti Smith,
Swell Maps,
Henry Cow,
Alison Limerick,
Mars,
Eli Mardock,
June Days,
Skarface,
Minnie Riperton,
Nik Kershaw,
Soft Machine,
kango's stein massive,
Radiohead,
Rekid,
Porter Ricks,
The Black Dice,
Mark Hollis,
Black Moon,
Jeff Lynne,
Sexual Harrassment,
Cheater Slicks,
Gil Scott Heron,
Los Fastidios,
Gil Scott-Heron & Brian Jackson,
Rod Modell,
AZ,
Toni Rubio,
Erasure,
Isaac Hayes,
Schoolly D,
The Invisible,
Fat Boys,
China Crisis,
Kool Moe Dee,
Colin Newman,
Kas Product,
The Fuzztones,
Brass Construction,
Neu!, Neu!, Neu!, Neu!.
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.