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 Malta and from Hong Kong.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Edmonton and Mexico City.
I'm losing my edge to the art-school Portland 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 snare sounds with much patience.
I was there when Nile Rodgers 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 Magma 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 Cluster. All the underground hits.
All Bauhaus tracks. I heard you have a vinyl of every Gang of Four record on German import.
I heard that you have a white label of every seminal funk 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 chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cymande,
The Fuzztones,
Cabaret Voltaire,
The West Coast Pop Art Experimental Band,
Peter & Gordon,
Dawn Penn,
The Royal Family And The Poor,
K-Klass,
Neu!,
The Misunderstood,
The Litter,
Justin Hinds & The Dominoes,
Louis and Bebe Barron,
KRS-One,
Soft Machine,
Big Daddy Kane,
Jacob Miller,
a-ha,
Girls At Our Best!,
Larry & the Blue Notes,
Gabor Szabo,
The Busters,
Half Japanese,
the Swans,
Quantec,
Lafayette Afro Rock Band,
Severed Heads,
the Normal,
Nik Kershaw,
Guru Guru,
The Associates,
Can,
Avey Tare's Slasher Flicks,
Lou Reed & Metallica,
Arthur Verocai,
Juan Atkins,
Cluster,
Stetsasonic,
Japan,
The Remains,
Joe Smooth,
Aural Exciters,
Andrew Ashong & Theo Parrish,
Maurizio,
Model 500,
Sugar Minott,
Gang Gang Dance,
Blancmange,
Eli Mardock,
The Residents,
Zapp,
Fela Kuti,
London Community Gospel Choir,
Slave,
The Moody Blues,
Michelle Simonal,
Curtis Mayfield,
Duran Duran,
Cecil Taylor,
Wolf Eyes,
Little Man,
Sister Nancy, Sister Nancy, Sister Nancy, Sister Nancy.
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.