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 Poland and from Manila.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1978.
I'm losing my edge.
To all the kids in Shanghai and Edmonton.
I'm losing my edge to the art-school Winnipeg 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 Donald Fagen 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 Main Source to the grunge kids.
I played it at the Troubador.
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 Liaisons Dangereuses. All the underground hits.
All DJ Sneak tracks. I heard you have a vinyl of every Main Source 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 '80s cut and another box set from the '90s.
I hear you're buying a 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
Arab on Radar,
Soul II Soul,
Clear Light,
Model 500,
Faust,
L. Decosne,
Bill Wells,
Alton Ellis,
Kings Of Tomorrow,
Boogie Down Productions,
Circle Jerks,
The Walker Brothers,
Ohio Players,
Man Parrish,
Heavy D & The Boyz,
Fela Kuti,
Trumans Water,
Simply Red,
Index,
David Bowie,
The Motions,
The Gladiators,
Don Cherry,
Eddi Front,
Graham Central Station,
Theoretical Girls,
Avey Tare,
Sexual Harrassment,
Audionom,
The Evens,
Ornette Coleman,
Barbara Tucker,
Magazine,
Lou Reed & John Cale,
Au Pairs,
Bill Near,
Sixth Finger,
Guru Guru,
ABBA,
kango's stein massive,
Animal Collective,
R.M.O.,
Danielle Patucci,
The Monks,
Cabaret Voltaire,
Crash Course in Science,
Juan Atkins,
Rekid,
Rosa Yemen,
Mission of Burma,
Soft Machine,
John Lydon,
Babytalk,
Goldenarms,
Radiohead,
The Offenders,
The Associates,
Sound Behaviour,
Marc Romboy vs. Booka Shade,
Andrew Ashong & Theo Parrish,
Roger Hodgson,
Curtis Mayfield, Curtis Mayfield, Curtis Mayfield, Curtis Mayfield.
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.