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 Mexico and from Houston.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Houston and Beijing.
I'm losing my edge to the art-school New York 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 guitar 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 Lindisfarne to the rock kids.
I played it at the Hacienda.
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 Minnie Riperton. All the underground hits.
All The Men They Couldn't Hang tracks. I heard you have a vinyl of every Soft Cell 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 '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Dave Clark Five record.
I hear that you and your band have sold your güiro and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
Deutsch Amerikanische Freundschaft,
Qualms,
Peter & Gordon,
The Shadows of Knight,
Crispy Ambulance,
Average White Band,
Stockholm Monsters,
Jeru the Damaja,
Todd Rundgren,
Fela Kuti,
Ronnie Foster,
Avey Tare & Kría Brekkan,
Cabaret Voltaire,
Curtis Mayfield,
Soul II Soul,
Arthur Verocai,
Gabor Szabo,
Ornette Coleman,
Pharaoh Sanders and the Fire Engines,
Sly & The Family Stone,
Jimmy McGriff,
Negative Approach,
Sight & Sound,
Kango’s Stein Massive,
The Detroit Cobras,
Terrestrial Tones,
Major Organ And The Adding Machine,
Tom Boy,
Soft Cell,
Skaos,
Eden Ahbez,
Public Image Ltd.,
H. Thieme,
Barrington Levy,
Pylon,
The Litter,
Grauzone,
Marc Almond,
Lou Reed & Metallica,
Guru Guru,
Al Stewart,
Circle Jerks,
The Smoke,
Half Japanese,
kango's stein massive,
Gil Scott Heron,
Swans,
De La Soul & Jungle Brothers,
Radiopuhelimet,
Moss Icon,
Cluster,
Dark Day,
The Divine Comedy,
The Pretty Things,
Eli Mardock,
The Five Americans,
Excepter,
Ken Boothe,
Sound Behaviour,
the Slits,
Todd Terry,
Monks, Monks, Monks, Monks.
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.