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 Congo and from Woodstock.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Seoul and Shanghai.
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 güiro sounds with much patience.
I was there when Holger Czukay 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 Interpol to the disco kids.
I played it at the Hacienda.
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 Urselle. All the underground hits.
All Roxette tracks. I heard you have a vinyl of every Mars record on German import.
I heard that you have a white label of every seminal crunk 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 sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül,
Sonny Sharrock,
Scan 7,
Siouxsie and the Banshees,
Newcleus,
Popol Vuh,
Liliput,
Don Cherry,
Joe Finger,
Brass Construction,
Lonnie Liston Smith,
Marc Almond,
Wolf Eyes,
Jacob Miller,
Susan Cadogan,
Rites of Spring,
The Walker Brothers,
Lungfish,
Glambeats Corp.,
Liaisons Dangereuses,
Subhumans,
The Chocolate Watch Band,
Hardrive,
Procol Harum,
Peter and Kerry,
Motorama,
Beasts of Bourbon,
The Men They Couldn't Hang,
Stiv Bators,
Simply Red,
Kevin Saunderson,
AZ,
Tomorrow,
Roy Ayers Ubiquity,
The Fall,
The Busters,
Isaac Hayes,
Lafayette Afro Rock Band,
Marmalade,
The Searchers,
Neil Young & Crazy Horse,
B.T. Express,
Al Stewart,
Soul II Soul,
UT,
Rhythim Is Rhythim,
Skaos,
KRS-One,
James Chance & The Contortions,
Fluxion,
Eddi Front,
Harpers Bizarre,
Eden Ahbez,
The Smoke,
The Toasters,
Minutemen,
MDC,
China Crisis,
Lyres,
Sun City Girls, Sun City Girls, Sun City Girls, Sun City Girls.
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.