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 Guatemala and from Johannesburg.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Stockholm and Shanghai.
I'm losing my edge to the art-school Madrid 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the 808 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 Grandmaster Flash to the techno kids.
I played it at the Troubador.
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 Television Personalities. All the underground hits.
All Man Parrish tracks. I heard you have a vinyl of every Suicide record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a X-101 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?
Chris & Cosey,
Skaos,
Pantaleimon,
Marc Romboy vs. Booka Shade,
48th St. Collective,
Scan 7,
Lindisfarne,
Stetsasonic,
Marvin Gaye,
10cc,
The Fugs,
Larry & the Blue Notes,
U.S. Maple,
Siglo XX,
Sister Nancy,
Pharaoh Sanders and the Fire Engines,
Peter Gordon & Love of Life Orchestra,
Barclay James Harvest,
The Velvet Underground,
Negative Approach,
Ituana,
PIL,
Clear Light,
The Dirtbombs,
ABC,
Morten Harket,
Black Pus,
Joensuu 1685,
Teenage Jesus and the Jerks,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Fortunes,
Lebanon Hanover,
Orchestral Manoeuvres in the Dark,
Ohio Players,
Manfred Mann's Earth Band,
Nirvana,
World's Most,
The Red Krayola,
Camouflage,
Masters at Work,
Thinking Fellers Union Local 282,
The Fall,
Janne Schatter,
Technova,
Ice-T,
Black Flag,
Sugar Minott,
Nation of Ulysses,
Crooked Eye,
Robert Görl,
Underground Resistance,
Main Source,
Jacob Miller,
James Chance & The Contortions,
Monolake,
Deakin,
Andrew Hill,
Franke,
Bluetip,
Andrew Ashong & Theo Parrish,
Roxy Music,
Das Ding,
Bobby Sherman, Bobby Sherman, Bobby Sherman, Bobby Sherman.
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.