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 Slovakia and from Spokane.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1977.
I'm losing my edge.
To all the kids in Beijing and Copenhagen.
I'm losing my edge to the art-school Lyon 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Barrington Levy to the rap kids.
I played it at Cafe Wha.
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 Jesper Dahlbäck. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every Faust 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 '60s cut and another box set from the '80s.
I hear you're buying a sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Rahsaan Roland Kirk record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Richard Hell and the Voidoids,
Kings Of Tomorrow,
Brothers Johnson,
Barclay James Harvest,
Jesper Dahlbäck,
Brass Construction,
The Last Poets,
the Swans,
The Monochrome Set,
Todd Rundgren,
Moebius,
John Lydon,
Fluxion,
Mr. Review,
Motorama,
B.T. Express,
Sugar Minott,
Kurtis Blow,
Alton Ellis,
Agitation Free,
The Dead C,
The Fugs,
The Fortunes,
The Toasters,
Technova,
Television Personalities,
Country Teasers,
10cc,
Bobby Womack,
Black Bananas,
Nirvana,
OOIOO,
the Fania All-Stars,
John Holt,
Gang Gang Dance,
Jeru the Damaja,
Gong,
Yaz,
Harpers Bizarre,
A Certain Ratio,
Lee Hazlewood,
Young Marble Giants,
The Modern Lovers,
the Sonics,
Amazonics,
Aural Exciters,
Wally Richardson,
Eden Ahbez,
Barry Ungar,
Bobby Hutcherson,
Funkadelic,
Minnie Riperton,
Matthew Halsall,
Excepter,
Blancmange,
Andrew Hill,
Joensuu 1685,
Loose Ends,
The Vogues,
Skaos,
Q and Not U,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.