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 Pakistan and from Calgary.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Lyon and Beijing.
I'm losing my edge to the art-school Hong Kong 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 Lewis practice in a loft in Vancouver.
I was working on the chamberlin 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 Marshall Jefferson to the disco 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 Nas. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Crooked Eye record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your linndrum and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Roxette,
Steve Hackett,
The Offenders,
Ornette Coleman,
X-101,
Depeche Mode,
Marmalade,
The Residents,
DJ Sneak,
The Walker Brothers,
Pierre Henry,
The Mummies,
Angels of Light & Akron/Family,
Graham Central Station,
U.S. Maple,
Letta Mbulu,
Soft Machine,
Marc Almond,
Babytalk,
Von Mondo,
The Monochrome Set,
Pere Ubu,
Magazine,
Lonnie Liston Smith,
Accadde A,
Mars,
Crime,
Crooked Eye,
Parry Music,
Fluxion,
Idris Muhammad,
Boz Scaggs,
Soul II Soul,
The Five Americans,
Super Lover Cee & Casanova Rud,
Excepter,
Tropical Tobacco,
Maleditus Sound,
The Tremeloes,
The Moleskins,
Quantec,
Rosa Yemen,
Eric B and Rakim,
Leonard Cohen,
Echo & the Bunnymen,
KRS-One,
Ultravox,
Archie Shepp,
Avey Tare & Kría Brekkan,
Moby Grape,
The Gladiators,
The Shadows of Knight,
Radio Birdman,
Adolescents,
Black Pus,
Rowland S Howard / Lydia Lunch,
E-Dancer,
The Motions,
Au Pairs,
London Community Gospel Choir,
Das Ding, Das Ding, Das Ding, Das Ding.
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.