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 El Salvador and from Manchester.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1965 to 1971.
I'm losing my edge.
To all the kids in Stockholm and Hong Kong.
I'm losing my edge to the art-school Edmonton 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 organ 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 New Order to the punk kids.
I played it at CBGB's.
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. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Funkadelic record on German import.
I heard that you have a white label of every seminal punk 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 harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Avey Tare & Kría Brekkan record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Crash Course in Science,
Sonny Sharrock,
The Happenings,
Eyeless In Gaza,
Quantec,
Neil Young,
Derrick May,
The Busters,
Gichy Dan,
Arab on Radar,
Nick Fraelich,
H. Thieme,
Pete Rock & C.L. Smooth,
The Men They Couldn't Hang,
Scientists,
Deutsch Amerikanische Freundschaft,
The Slits,
The Barracudas,
Amon Düül II,
KRS-One,
The Detroit Cobras,
Darondo,
PIL,
Black Flag,
X-101,
K-Klass,
X-102,
Laurel Aitken,
Underground Resistance,
Bobby Byrd,
Howard Jones,
Wally Richardson,
Josef K,
Erasure,
Au Pairs,
Vainqueur,
The Human League,
The Fall,
Brick,
The Golliwogs,
The Fortunes,
Robert Wyatt,
Dennis Brown,
Deakin,
Technova,
Orchestral Manoeuvres in the Dark,
Model 500,
the Normal,
Mission of Burma,
Dark Day,
Eddi Front,
John Foxx,
The Offenders,
Kings Of Tomorrow,
Rhythim Is Rhythim,
The Monochrome Set,
Hardrive,
The Mighty Diamonds,
The Move,
The Dead C,
Cabaret Voltaire,
Eric B and Rakim,
Mantronix, Mantronix, Mantronix, Mantronix.
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.