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 Ghana and from Manchester.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Madrid and Seoul.
I'm losing my edge to the art-school Paris 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 arpeggiator sounds with much patience.
I was there when Robert Palmer 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 Eurythmics to the rock kids.
I played it at the 40 Watt.
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 Pete Rock & C.L. Smooth. All the underground hits.
All Amon Düül tracks. I heard you have a vinyl of every Pharoah Sanders 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 '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Detroit Cobras record.
I hear that you and your band have sold your sitar and bought a güiro.
I hear that you and your band have sold your güiro and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Gerry Rafferty,
Piero Umiliani,
Country Teasers,
Public Image Ltd.,
Pussy Galore,
Cecil Taylor,
Major Organ And The Adding Machine,
The Beau Brummels,
Boredoms,
The Raincoats,
FM Einheit,
L. Decosne,
Cabaret Voltaire,
Kas Product,
David Axelrod,
Jimmy McGriff,
Kurtis Blow,
the Association,
Art Ensemble Of Chicago,
Minnie Riperton,
Jerry Gold Smith,
The Blues Magoos,
Con Funk Shun,
Q65,
Eric Copeland,
Agitation Free,
Bobby Womack,
Sparks,
The Jesus and Mary Chain,
Talk Talk,
Soft Cell,
The Victims,
Inner City,
The Techniques,
R.M.O.,
Schoolly D,
Tears for Fears,
The Five Americans,
Orchestral Manoeuvres in the Dark,
Terrestrial Tones,
Roy Ayers Ubiquity,
The Music Machine,
Marmalade,
John Coltrane,
Nick Cave & The Bad Seeds,
Bootsy Collins,
Circle Jerks,
The J.B.'s,
Roxette,
The Trojans,
Boogie Down Productions,
Siouxsie and the Banshees,
EPMD,
Audionom,
Pantytec,
Skarface,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Residents,
T. Rex,
The Fire Engines,
Mantronix,
Severed Heads, Severed Heads, Severed Heads, Severed Heads.
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.